Known for movies

Short Info

Net Worth$45 million
Date Of BirthAugust 18, 1933
SpouseEmmanuelle Seigner (m. 1989), Sharon Tate (m. 1968–1969), Barbara Kwiatkowska-Lass (m. 1959–1962)
MarkBy the end of his films, the protagonist often meets an uncertain, melancholic future ("The Ninth Gate (1999) ", "The Ghost Writer (2010)", "Rosemary's Baby (1968)", "Chinatown (1974)" and "Macbeth (1971)").
FactWhen he fled from the U.S. in the late 70s, much was made about the director's inability to ever make films in the States again. However, Polanski only shot 2 films in the States prior to his arrest: Rosemary's Baby (1968) and Chinatown (1974) were shot in North America. All other English-language films before the arrest were shot in the UK, and all the ones since have been shot in Central Europe.

Roman Polanski is a Polish film director, producer, writer, and actor. He is considered one of the greatest filmmakers of all time. His films have won him numerous awards, including an Academy Award, two Golden Globe Awards, a BAFTA Award, and the Palme d’Or.

Polanski was born in Paris, France, on August 18, 1933, to Polish parents. His father, Bolesław Polański, was a painter and sculptor, while his mother, Róża Polańska (née Katz), was a Polish Jew who survived the Holocaust. Polanski has two sisters: Annette (born 1934) and Isabelle (born 1942).

Polanski began his film career in Poland, where he directed two short films before moving to France. He made his feature film debut with Knife in the Water (1962), which was nominated for an Academy Award for Best Foreign Language Film. He followed this with films such as Repulsion (1965), Rosemary’s Baby (1968), Chinatown (1974), and The Pianist (2002), which won him the Academy Award for Best Director.

Polanski has been married three times: first to Barbara Kwiatkowska-Lass (1957-1959), then to Sharon Tate (1968-1969), and finally to Emmanuelle Seigner (1989-present). He has two children: son Roman Polanski Jr. (born 1968) with Tate, and daughter Morgane Polanski (born 1985) with Seigner.

Polanski’s net worth is estimated to be $60 million. He has won numerous awards throughout his career, including an Academy Award, two Golden Globe Awards, a BAFTA Award, and the Palme d’Or.

General Info

Full NameRoman Polanski
Net Worth$45 million
Date Of BirthAugust 18, 1933
Height1.65 m
ProfessionScreenwriter, Film producer, Film director, Actor
EducationNational Film School in Łódź


SpouseEmmanuelle Seigner (m. 1989), Sharon Tate (m. 1968–1969), Barbara Kwiatkowska-Lass (m. 1959–1962)
ChildrenMorgane Polanski, Elvis Polanski
ParentsRyszard Liebling, Bula Liebling
SiblingsAnnette Polanski


AwardsAcademy Award for Best Director, Palme d'Or, César Award for Best Film, César Award for Best Director, Golden Bear, César Award for Best Writing - Adaptation, Golden Globe Award for Best Director - Motion Picture, Polish Academy Award for Best Film, Golden Lion for Lifetime Achievement, BAFTA Awa...
NominationsAcademy Award for Best Picture, Academy Award for Best Foreign Language Film, Academy Award for Best Writing Adapted Screenplay, Golden Lion, Golden Globe Award for Best Motion Picture – Drama, Golden Globe Award for Best Screenplay - Motion Picture, Grand Jury Prize, Polish Academy Award for Best...
MoviesRosemary's Baby, The Pianist, Chinatown, Carnage, Repulsion, The Tenant, Venus in Fur, The Ghost Writer, The Fearless Vampire Killers, Bitter Moon, Tess, Macbeth, Oliver Twist, The Ninth Gate, Knife in the Water, Frantic, Cul-de-sac, Pirates, Death and the Maiden, What?, A Pure Formality, Two Men an...

Social profile links


#Marks / Signs
1Often key scenes or plot are featured near or associated with water.
2By the end of his films, the protagonist often meets an uncertain, melancholic future ("The Ninth Gate (1999) ", "The Ghost Writer (2010)", "Rosemary's Baby (1968)", "Chinatown (1974)" and "Macbeth (1971)").
3Likes to arrange shots from the protagonist's perspective and slowly pan around the room to points of interest as the character notices them.


1[2007 interview] I think my best work is The Pianist (2002). I think if I were asked what cans of which movies do I want deposited on my tomb, I would say The Pianist. But next probably is Chinatown (1974).
2[2000 interview] I don't think I made my movie yet. I don't have one that would give me a real satisfaction. I would not put any one of them on my gravestone.
3[on Carnage (2011)] With each film, I need an artistic challenge so I don't get bored! I like to tackle challenges. On this film, it was telling a story that takes place in real time and in a confined space. I've made films before in an enclosed space, but not as rigorously self-contained, so this was a new experience. When I was a teenager, I was really struck by Laurence Olivier's Hamlet (1948), with its strange castle full of stairs, terraces and corridors, and also by Carol Reed's fabulous Odd Man Out (1947) with James Mason. It's a film with such a strong impact that I often tried to imitate it later. In fact, my first film, Knife in the Water (1962) was filmed on a boat with three people. So I wasn't afraid of the constraints of a confined space like an apartment. I find it really exciting, in fact, even if it isn't easy. Because there were no ellipses, you couldn't put something in a different place from one shot to another. If someone put a glass on the table it had to be there throughout the picture unless we see it being moved in the action.
4[on attracting an audience] One can create the most marvellous things, but if they are not accepted, it's a tragedy. It's like Van Gogh, who sold only one painting, and in fact to his brother, I believe. This great painter, who is my absolute favourite, lived his life for us, not for himself. I don't have this ambition; I would like to share my view of the world with others.
5[2014] I never really imagined how one can retire. What do you do? Gardening? No, I feel really happy when I'm working. I think the best moments in my life are when I work. It was my passion when I was a young man, and it remains my passion. I feel probably the way a carpenter feels when he's making a beautiful chair and seeing the result of his work. The work itself is satisfying, the process of getting the result.
6[on Mia Farrow in Rosemary's Baby (1968)] I had only seen her on the cover of Life. To be honest, I was not enthusiastic about her until we started to work. Then I discovered, somewhat to my surprise, that she is a brilliant actress. This is one of the most difficult woman's parts I can imagine.
7To me, Rosemary's Baby (1968) is not an entirely serious movie - it can be interpreted two ways. I shot it in such a way that you could consider her as a person with problems and imagining it all. I made it more ambiguous than the book and that's why I never showed the baby.
8[on working with John Travolta on aborted film The Double] There were changes in the script, but they were not that dramatic. The problem was that Travolta resented any kind of comment. He seemed to have some kind of inferiority complex, perhaps from some period of his life when he was not justly dealt with. During the third read-through, about a week before we were supposed to start shooting, there was a heated conversation between us. I made some comment about his line-readings in a scene - I said something like, "That's not how I heard it in my mind" - and he said, "Well, that's how I heard it." I said, "Well, there may be as many ideas of how this scene should be dealt with as there are people in the world. Who takes the final decision? I'm here to direct." And we started arguing. It was not a fight but it was quite uneasy, as when people don't say exactly what's on their mind. He is more a passive-aggressive person, he does not come right out and say, "You asshole!" Maybe in the readings I should have just sat there and listened without reacting, just to get him acclimatised. But from what I had seen of him, I thought he was a real pro, and with pros, you know, you work without thinking of all this sensitivity. You just give direction and sometimes you show what you want that's different. I've never known any instance of an actor walking out like this so close to filming. The fact is, if you are an actor and people depend on you, you cannot just bolt like that.
9[interview from 1976] Attention to detail is something that I have been always very fond of, even when I was doing my first little films at the film school, and even before then when I used to go the cinema, the films that really interested me as the viewer were the ones which had tremendous attention to detail. I think that detail creates atmosphere; and now when I go the cinema sometimes a little detail which is wrong can throw me completely off. When I see a film, let's say, which happens in the 30s and suddenly I see men with long hair - that spoils the film for me completely because I know that people didn't wear this type of hairdo until only 10 or 15 years ago. It's a question of honesty, of not only the film director but any other artist or writer, this attention to detail. In literature, when the writer knows the subject he is writing about, it becomes twice as interesting.
10[on Pirates (1986)] To make a costume picture on a sound stage is bad enough. To do it on the deck of a galleon is terrible. I thought of building part of a boat, and also using models and interior sets. Then we decided it was easier to just build the whole boat. The boat is the set. Fine, except that it must also float, and the sails had to be unfurled, and taken up and down, and behind us was the canopy of sky, which would be blue in one shot and cloudy in the next. The wind comes from nowhere and first you see the town in the background, then the sand, then the sea. Nothing matches between one shot and the next. And then you have to think about the beards, and the swords, and the wigs! The wigs and the wigs, and Walter Matthau's wooden leg. And if there was to be an explosion, then you think about the beards and the wigs and the leg and the explosion and the wind and the sky, and it drives you crazy. Each shot was like tearing a fish out of a shark's mouth. It is easy to be perfect when no one disturbs you. On the sound stage, you control everything. So you can be patient. On a boat, however, providence may have other plans for you. It was a nightmare from beginning to end. Every day something new would go wrong. I should have got a special award just for finishing it.
11I'm happy when I find a subject that excites me, that gives me a reason to make a film; and I'm still happy when I'm making it because this is my real and true profession.
12The first time that I felt that I really had got it technically smooth was Rosemary's Baby (1968). The first time I made a film that would make me happy because I felt the humour and the tone the way I like it was The Fearless Vampire Killers: Vampires 101 (1967). Chinatown (1974) was the first film where I had no struggle throughout the production because I was totally supported by the producer and had everything at my disposal; I was like a racing driver with a bunch of people standing around you and just ready to respond to every gesture.
13Never pull a hair from Faye Dunaway's head. Pull it from somebody else's head.
14Films are films, life is life.
15[on Bitter Moon (1992)] The fact that sexual attraction wanes, that's what fascinated me. That has nothing to do with love, which can actually deepen as sex declines. The premise of the film is that love cannot last forever in its true intensity. It must bleed or end tragically. If it has peaks, it must have lows. I hadn't done a movie like this for a long time, and I felt strongly not only that I'd like to do it, but that people who know my work were somehow expecting me to return to this kind of material. I wasn't making it to shock. Maybe I had a little bit of this desire when I was young. I don't have any of those needs now, and even when I was beginning, the main thing for me was to tell the story and if the story required violent images or nudity, I would use them for telling it. I didn't have much money, so we worked hard and were under tremendous pressure, but I did what I wanted and nobody interfered with the result.
16[on Weekend of a Champion (1972)] The reason I made the film was first because I wanted to make a film about a friend, about Jackie Stewart specifically, and two because I like Formula 1 very much and I thought it was a very cinematic, very visual kind of sport. And it was not really being filmed that much because there was no television every week where you could watch the Formula 1 races. I never considered myself talented in this direction. I didn't consider myself a director of documentaries particularly in that period. Documentaries were not as frequently successful as they are now - there are many more of them now because of the television. You see many more documentaries in theaters. In those times it was very, very seldom that you could hope to have any kind of success with a documentary in a general theatrical release.
17[advice to aspiring filmmakers] It's a question of patience and perseverance. You can't teach talent, but you can tell someone how to sustain the adversity which is an enemy constantly on set. Whatever type of film you make, it requires a crew, it requires financing, it requires a lot of people around you. And those people - even if they are all with you, even if they are all friendly, and even if they agree with the final result - they still have their personal agendas. They see things differently than you do.. They have families and children and girlfriends and they're horny. So what you really need is to be patient and to be able to stand all those problems.
18[on Frantic (1988)] The idea was to make a film about the things I know - to show my Paris. I wanted to get rid of everything that was too obviously quaintly Parisian and tried to show the town of today. It was the way I see it and not as Americans might imagine it to be. Having as a theme an American in Paris, I wanted to dispel the idea and tradition of Irma la Douce (1963) and Moulin Rouge (1952) which still perseveres, and I wanted to create a new idea of an American here.
19There are differences between making films in the US and Europe; in America the opportunities are grander but the films are more formulaic and less artistic.
20The world isn't getting any better, which is quite alienating. Scientific progress seems to amplify rather than lessen our problems. Inventions proliferate, the economy booms, but people suffer ever more. I think there are simply too many people. Progress can't keep up with the growing population, although we like to believe otherwise. [1999]
21Evil and the Devil are two different things. The Devil is how humans like to imagine evil, with horns and a tail. Evil is part of our personality. I've never believed in occultism or the Devil, and I'm not at all religious. I'd rather read science books than something about occultism. When it comes to cinema, evil is simply a form of entertainment to me.
22The Ninth Gate (1999) is fun, it's nice, I think it's a good movie, but after all, what is it about? It's like every other movie that is made nowadays. It may be different in style, but it doesn't make any important statement. It was something that could be done quickly, I needed work, I had to do something. It was too long a time since my last film and a lot of projects were canceled.
23The older I get, the harder I find it to decide what I should do next. As a young man I was much more innocent. Life seemed endless and I simply said, "Okay: I'm doing this film. Period." Time has taught me that I have to assume all the responsibilities when I embark on one of these adventures, and today I ask myself, "Do I really have the perseverance? Can I handle everything getting on my nerves?" Making films is a battle and sometimes you get tired of fighting. I simply want to produce good work, and that's why I have to think I'm the best. Of course this isn't easy because it's not necessarily true. But you won't win if you think you're a loser.
24[on aborted film The Double with John Travolta] So many people had put so much effort into that project when all of a sudden everything fell apart. Pierre Guffroy, my longtime production designer, cried when we tore down the set. Travolta claimed I'd changed the script without him agreeing. Besides the fact that it was within my rights to do so, the whole thing was a joke. On the other hand, looking back, it was probably a good thing in the end because of all the special effects needed. It required a lot of patience and I don't think Travolta would have been up to it. Stars are an audience attraction, though that doesn't make their wages any less obscene. How can Travolta - who gets $20 million - risk such silly behaviour? But there are plenty of counterexamples, like Sigourney Weaver who asked for a third of her usual fee for Death and the Maiden (1994) and Johnny Depp who was very disciplined when we made The Ninth Gate (1999).
25[on casting Mia Farrow in Rosemary's Baby (1968)] She has a neurotic quality, good for Rosemary. Only nuts are interesting people.
26It's getting more and more difficult to make an ambitious and original film. There are less and less independent producers or independent companies and an increasing number of corporations who are more interested in balance sheets than in artistic achievement. They want to make a killing each time they produce a film. They're only interested in the lowest common denominator because they're trying to reach the widest audience. And you get some kind of entropy. That's the danger; they look more alike, those films. The style is all melting and it all looks the same. Even young directors - for most of them their only standard of achievement is how well their films do on the first weekend or whatever. It worries me. But then, from time to time, you have a film like The Usual Suspects (1995) or Pulp Fiction (1994), which I enjoyed very much. Whenever you do something new or original, people run to see it because it's different. Then, if it happens to be successful, the studios rush to imitate it. It becomes commonplace right away. But it's been like that before, I think. Now, the stakes are so gigantic that they cut each other's throats. So if most of the films are failures, then those that succeed so spectacularly, so commercially, become the norm. It's like a roulette for the studios. The problem with it is that it becomes more and more of a committee. Before, you dealt with the studio. It had one or two persons and now you have masses of executives who have to justify their existence and write so-called "creative notes" and have creative meetings. They obsess about the word creative probably because they aren't.
27You make films for people, so you enjoy it when it's a success. Who wants an empty theatre? But you can't think of that when you're doing it because you have to satisfy your own artistic taste, and not trying to extrapolate it, asking whether they're going to like it or not, because it doesn't work this way, unfortunately.
28[on Faye Dunaway] She was a gigantic pain in the ass. She demonstrated certifiable proof of insanity.
29[on Harrison Ford] Often when Harrison read a line, it was a different reading than I anticipated, but it worked. Somehow, it was more inspiring or original than what I had in mind.
30[on Jack Nicholson] Jack! You see how angry he gets in a scene? Unbelievably scary! He can not stop, he goes into a kind of it, you dunno whether he is acting any more!
31First comes my love of my work [in movies], but secondary to the creation itself is the need to get laid.
32A lot has changed for me. My life has improved. It's not only children, but the relationship with my wife is the best thing that ever happened to me.
33I am not a fortune teller. I would like to be judged for my work, and not for my life. If there is any possibility of changing your destiny, it may be only in your creative life, certainly not in your life, period.
34[on Oliver Twist (2005)] I would never think of doing a movie for children if I did not have any. A lot of things in the film I know about. I relate to all the sufferings much more now that I have kids. I see it from the outside now. And before, I didn't. Children have this capacity for resistance, and they accept things as they are, maybe because they have no other reference. They are somehow more flexible; they adapt much faster than adults. My children like coming to the set of my movies, they know what I am doing, they live around all that, but the result of all this work is something so remote from their world they can't identify with it. I wanted something they could, so I started looking for subjects that would be suitable. It's for them, so they will be able to remember the movie years from now when I won't be around.
35Hollywood is like that: a spoiled brat that screams for possession of a toy and then tosses it out of the baby buggy.
36[To the press after the murder of his wife Sharon Tate in 1969] ...All of you know how beautiful she was, but few of you know how good she was.
37Every film I make represents a departure for me. You see, it takes so long to make a film. By the time you get to the next one you're already a different man. You've grown up by one or two years.
38Every failure made me more confident. Because I wanted even more to achieve as revenge. To show that I could.
39[on François Truffaut, Claude Lelouch, and Jean-Luc Godard] People like Truffaut, Lelouch and Godard are like little kids playing at being revolutionaries. I've passed through this stage. I lived in a country where these things happened seriously.
40In Paris, one is always reminded of being a foreigner. If you park your car wrong, it is not the fact that it's on the sidewalk that matters, but the fact that you speak with an accent.
41If ever I see one of my films on television, I have a hard time sitting through it, because it seems like all the sins of youth. Truly, I don't think I did my picture yet. I don't feel like I did anything that was totally satisfying to me.
42Cinema should make you forget you are sitting in a theater.
43Whenever I get happy, I always have a terrible feeling.
44I can only say that whatever my life and work have been, I'm not envious of anyone, and this is my biggest satisfaction.
45The best films are because of nobody but the director.
46[on his style of filmmaking] "I don't really know what is shocking. When you tell the story of a man who is beheaded, you have to show how they cut off his head. If you don't, it's like telling a dirty joke and leaving out the punch line."
47[on filmmaking] "You have to show violence the way it is. If you don't show it realistically, then that's immoral and harmful. If you don't upset people, then that's obscenity."
48My films are the expression of momentary desires. I follow my instincts, but in a disciplined way.
49Normal love isn't interesting. I assure you that it's incredibly boring.


1Six of Roman Polanski's films--Knife in the Water (1962), Repulsion (1965), Cul-De-Sac (1966), Rosemary's Baby (1968), Macbeth (1971), and Tess (1979)--are in the Criterion Collection.
2His favourite films include: Odd Man Out (1947), Hamlet (1948), Citizen Kane (1941) and (1963).
3In September 2011, Polanski returned to Zurich, Switzerland--the city where he was arrested in 2009--to finally accept the Zurich Film Festival award for life achievement.
4Friends with: Harrison Ford, Krzysztof Komeda, Martin Scorsese, Voytek Frykowski, Jack Nicholson, Gene Gutowski, Woody Allen, Hugh M. Hefner, Brett Ratner, Robert De Niro, Warren Beatty, John Phillips, Jackie Stewart, Robert Evans, Steve McQueen, Roger Vadim, Andrew Braunsberg, Jerzy Kosinski, Bruce Lee, Andrzej Wajda, Jay Sebring, Peter Sellers, Adam Holender and Gilbert Taylor.
5In 1969, he was writing a script for a film about the Donner Party, as well as a biography of Italian violinist and composer Niccolò Paganini, but both projects were abandoned.
6In February 2007 it was announced that Polanski would direct a $130m adaptation of Robert Harris' novel Pompeii. Orlando Bloom and Scarlett Johansson were rumoured to be starring, but in September 2007 he left the project due to concerns over the threatened Screen Actors Guild strike.
7Directed four actors in Oscar-nominated performances: Ruth Gordon, Jack Nicholson, Faye Dunaway, and Adrien Brody. Gordon and Brody did win Oscars for their performances in two of his films.
8In November 1989, Polanski was approached by Warner Bros. to adapt and direct Mikhail A. Bulgakov's novel The Master and Margarita. The project was subsequently dropped by Warner Bros. due to budgetary concerns and the studio's belief that the subject matter was no longer relevant due to the fall of the Berlin Wall. Polanski has described his script as the best he has ever adapted.
9Was offered the chance to direct King Kong (1976) but turned it down.
10According to his autobiography, producer Robert Evans initially wanted Polanski to direct Sliver (1993). But since Polanski could not return to the U.S., Evans planned on having a second unit director shoot some footage in New York, while Polanski would direct the rest of the film in Paris.
11He was to have directed The Double, a modern-day, comedic adaptation of Fyodor Dostoevsky's novel about a man whose life is taken over by his doppelganger. John Travolta, who was being paid $17 million, was to have played the lead, alongside Isabelle Adjani, John Goodman, and Jean Reno. Shooting was to have begun in Paris in June 1996. Lili Fini Zanuck and Todd Black were producing, Jeremy Leven had written the screenplay, and other personnel such as director of photography Robert Richardson and production designer Pierre Guffroy were in place. Just nine days before the commencement of principal photography, and with around $15 million already spent on the project, Travolta flew back to the U.S. following an argument with Polanski. Travolta claimed that the shooting screenplay had been significantly altered from the one he had originally read. Following Travolta's departure, Steve Martin was quickly hired to replace him, but Isabelle Adjani said she was only prepared to work with Travolta, and she, too, left the film. The project collapsed shortly afterwards.
12Born in Paris, France, he was the son of Bula (née Katz-Przedborska) and Ryszard Liebling (aka Ryszard Polanski), a painter and plastics manufacturer. His father was a Polish Jew and his mother, a native of Russia, had a Jewish father and a Roman Catholic mother, and was raised as a Catholic.
13Is portrayed by Marek Probosz in Helter Skelter (2004).
14President of the jury at the Cannes Film Festival in 1991.
15When he fled from the U.S. in the late 70s, much was made about the director's inability to ever make films in the States again. However, Polanski only shot 2 films in the States prior to his arrest: Rosemary's Baby (1968) and Chinatown (1974) were shot in North America. All other English-language films before the arrest were shot in the UK, and all the ones since have been shot in Central Europe.
16Was one of the judges in the Miss Universe pageant in 1976.
17Was voted the 26th Greatest Director of all time by Entertainment Weekly.
18Within the Hollywood industry in the late '60s and early '70s he was often mocked as the stereotypical short, tyrannical European director.
19Won the Best Director Oscar in 2003 for The Pianist (2002) at the age of 69 years and 7 months, making him, at that time, the oldest person to win the award. Polanski eclipsed the record previously held by George Cukor, who was 65 when he won Best Director for My Fair Lady (1964). This record was beaten in 2005, when Clint Eastwood won Best Director for Million Dollar Baby (2004) at the age of 74.
20Received his first best director Oscar for the movie The Pianist (2002) five months after the awards ceremony. His friend, Harrison Ford, flew to France to present Polanski the award, since the director would be immediately arrested and incarcerated due to outstanding warrants stemming from his fleeing the US to avoid further imprisonment after his 1978 statutory rape conviction. [8 September 2003].
21Roman and his father are Holocaust survivors. His father was Jewish, and his half-Jewish mother (who was murdered in Auschwitz) had been raised as a Roman Catholic.
22Shortly before her murder, wife Sharon Tate gave Polanski a copy of Thomas Hardy's 1891 novel "Tess of the d'Urbervilles", and he planned to film it with her. When he finally made the movie Tess (1979), he dedicated it to her.
23Two children with Emmanuelle Seigner: Morgane Polanski (born January 20, 1993) and Elvis Polanski (born April 12, 1998).
24In 1969, while Polanski was out of town on business, his wife, actress Sharon Tate, was brutally murdered by members of Charles Manson's cult family, though Manson only ordered the killing and was not present during the murders. Tate was eight months pregnant with Polanski's first child at the time. Polanski has said that his life's biggest regret was not being present at the house the night his wife and four others were murdered.
25After Polanski fled American justice, the judge over his case swore to put him behind bars again. Though the judge died in 1989, the director still cannot return to the U.S. as he would be arrested immediately.
26Convicted of the statutory rape of a 13-year-old girl after plea bargaining, Polanski served time in prison in California, but prison officials released him sooner than the judge's original sentence had intended. The judge then sought to have Polanski brought to court again for further sentencing. Rather than do so, Polanski fled to Europe to avoid and escape a second arrest and incarceration. In 2013, his former victim, Samantha Geimer--who was 50 years old and had long ago forgiven him for the crime--detailed her story in a book called "The Girl".
27Has not returned to the United States since 1978.




The Stalking Moonpre-productionFabrice Fournier
Caos calmo2008Steiner
Rush Hour 32007Detective Revi (uncredited)
The Revenge2002Józef Papkin
Hommage à Alfred Lepetit2000Short
Dead Tired1994Roman Polanski
A Pure Formality1994Inspector
Back in the U.S.S.R.1992Kurilov
En attendant Godot1989TV MovieLucky
Frantic1988Taxi Driver Who Hands Over the Matches to Dr. Walker (uncredited)
The Tenant1976Trelkovsky
Chinatown1974Man with Knife
Blood for Dracula1974Man in Tavern (uncredited)
Che?1972Mosquito (uncredited)
The Magic Christian1969Solitary Drinker
Dance of the Vampires1967Alfred
Repulsion1965Spoon Player (uncredited)
Knife in the Water1962Young Man (voice, uncredited)
Le gros et le maigre1961ShortThe lean (uncredited)
Ostroznie, Yeti!1961Driver
Niewinni czarodzieje1960Dudzio
Do widzenia, do jutra...1960Romek (as R. Polanski)
Zezowate szczescie1960Jola's Tutor (uncredited)
The Lamp1959ShortA passer-by (uncredited)
When Angels Fall1959ShortOld woman
Co rekne zena?1958Dancer
Two Men and a Wardrobe1958ShortBad boy (uncredited)
Koniec nocy1957Little One
Nikodem Dyzma1956Boy at Hotel (uncredited)
Godzina bez slonca1955Short
Rower1955ShortBoy who wants to buy a bicycle
Zaczarowany rower1955Adas
Trzy opowiesci1953Genek 'The Little' (segment "Jacek")


D'après une histoire vraie2017/I
La Vénus à la fourrure2013
A Therapy2012Short
The Ghost Writer2010
Greed, a New Fragrance by Francesco Vezzoli2009Video short
Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence2007segment "Cinéma Erotique"
Oliver Twist2005
The Pianist2002
The Ninth Gate1999
Death and the Maiden1994
Bitter Moon1992
The King of Ads1991Documentary segment "Vanity Fair commercial"
The Tenant1976
Weekend of a Champion1972Documentary uncredited
Rosemary's Baby1968
Dance of the Vampires1967
Les plus belles escroqueries du monde1964segment "La Rivière de Diamants"
Knife in the Water1962
Le gros et le maigre1961Short
The Lamp1959Short
When Angels Fall1959Short
Two Men and a Wardrobe1958Short
Teeth Smile1957Short
Break Up the Dance1957Short


D'après une histoire vraie2017/Iscreenplay
Captain Jokes Parrot's Disaster of the Caribbean2017TV Movie characters
La Vénus à la fourrure2013screenplay
A Therapy2012Short screenplay
The Ghost Writer2010screenplay
The Ninth Gate1999screenplay
Bitter Moon1992screenplay
Frantic1988written by
Pirates1986written by
The Tenant1976screenplay
A Day at the Beach1972
Macbeth1971screenplay by
The Boat on the Grass1971
Rosemary's Baby1968screenplay
La fille d'en face1968writer
Dance of the Vampires1967story and screenplay
Love Story1965TV Series writer - 1 episode
Repulsion1965original screenplay
Les plus belles escroqueries du monde1964segment "La Rivière des Diamants"
A Taste for Women1964screenplay
Knife in the Water1962scenario
Mammals1962Short scenario
Le gros et le maigre1961Short scénario
The Lamp1959Short writer
When Angels Fall1959Short scenario
Two Men and a Wardrobe1958Short scenario
Murder1957Short uncredited
Teeth Smile1957Short uncredited
Break Up the Dance1957Short


Weekend of a Champion2013Documentary producer
The Ghost Writer2010producer
Chacun son cinéma ou Ce petit coup au coeur quand la lumière s'éteint et que le film commence2007producer - segment "Cinéma Érotique"
Oliver Twist2005producer
The Pianist2002producer
The Ninth Gate1999producer
Bitter Moon1992producer
A Day at the Beach1972producer
Weekend of a Champion1972Documentary producer
G.G. Passion1966Short co-producer
Le gros et le maigre1961Short producer

Assistant Director

Zezowate szczescie1960assistant director
Koniec nocy1957assistant director


The Pianist2002voice dubbing: Michal Zebrowski - uncredited


Captain Jokes Parrot's Disaster of the Caribbean2017TV Movie grateful acknowledgment
Flowers in December2015Short very special thanks
The Tree of Numbers2015Short thanks: inspiration
Tower Heist2011special thanks
Komeda: A Soundtrack for a Life2010Documentary very special thanks
Le code a changé2009thanks
Northern Lights2009Documentary special thanks for inspiration
Cadillac Records2008special thanks
A Federal Case2008acknowledgment
The Diving Bell and the Butterfly2007special thanks
Twist by Polanski2006Video documentary short special thanks
Rosemary's Music: I Remember Komeda2006Short the producers and director wish to thank
Carne de tu carne1983dedicatee


The Tonight Show Starring Johnny Carson1969TV SeriesHimself - Guest
NET Festival1968TV Series documentaryHimself
Le cinéma fantastique1968Documentary shortHimself
Wedding of the Doll1968DocumentaryHimself
Mia and Roman1968Documentary shortHimself
The New Cinema1968TV Movie documentaryHimself
Valley of the Dolls: A World Premiere Voyage1967TV MovieHimself
Hollywood Backstage1967TV SeriesHimself
XVI. Internationale Filmfestspiele Berlin 19661966TV Movie documentaryHimself
Roman Polanski - Versuch eines Fernseh-Porträts1966TV Movie documentaryHimself
Late Show London1966TV SeriesHimself
Grand écran1964TV Series documentaryHimself
Stupéfiant!2016TV SeriesHimself
Le petit journal2016TV SeriesHimself
La grande librairie2016TV SeriesHimself
Vivement dimanche2015TV SeriesHimself
Bandes originales: Alexandre Desplat à notre portée2014TV Movie documentaryHimself
Zweiter Weltkrieg2014TV Mini-Series documentaryHimself'
La nuit des Césars1980-2014TV Series documentaryHimself / Himself - Meilleur réalisateur / Himself - César de la meilleure adaptation - César du meilleur réalisateur / ...
Interview De Roman Polanski2013Video documentary shortHimself
Conversation secrète2013TV SeriesHimself
Vangelis and the Journey to Ithaka2013DocumentaryHimself
20 heures le journal2013TV SeriesHimself
Weekend of a Champion2013DocumentaryHimself
Cinema 31992-2013TV SeriesHimself
Seduced and Abandoned2013DocumentaryHimself
Close Up2012DocumentaryHimself
Pod Tatrami - O filmie Komeda muzyczne sciezki zycia2012TV ShortHimself
Une journée particulière2012DocumentaryHimself
Roman Polanski: A Film Memoir2011DocumentaryHimself
JacK Waltzer: On the Craft of Acting2011DocumentaryHimself
The 2010 European Film Awards2010TV SpecialHimself - Winner European Film, Director & Screenwriter
Komeda: A Soundtrack for a Life2010DocumentaryHimself
Ciak Point Torino 20082008TV MovieHimself
AFI's 10 Top 10: America's 10 Greatest Films in 10 Classic Genres2008TV MovieHimself
Shootout2008TV SeriesHimself
Chinatown: Filming2007Video documentary shortHimself
Chinatown: The Beginning and the End2007Video documentary shortHimself
Chinatown: The Legacy2007Video documentary shortHimself
HBO First Look2007TV Series documentary shortHimself
Aleja gówniarzy2007Himself
Il était une fois...2007TV Series documentaryHimself
The 2006 European Film Awards2006TV SpecialHimself
Polanski par Polanski2006TV Movie documentaryHimself
Campus, le magazine de l'écrit2006TV Series documentaryHimself
Twist by Polanski2006Video documentary shortHimself
Rosemary's Music: I Remember Komeda2006ShortHimself
Corazón de...2005TV SeriesHimself
'Tess': From Novel to Screen2004Video documentary shortHimself
'Tess': The Experience2004Video documentary shortHimself
Filming 'Tess'2004Video documentary shortHimself
Claude Berri, le dernier nabab2003TV Movie documentaryHimself
Roman Polanski and Jerzy Skolimowski on 'Knife in the Water'2003Video documentary shortHimself
Two Gangsters and an Island2003Video documentary shortHimself
Knife in the Water: A Ticket to the West2003Video documentary shortHimself
A Story of Survival: Behind the Scenes of 'The Pianist'2003Video documentary shortHimself
Dean Tavoularis, le magicien d'Hollywood2003DocumentaryHimself
The Making of 'The Pianist'2003TV Short documentaryHimself
A British Horror Film2003Video documentary shortHimself
2002 World Awards2002TV SpecialHimself
Continuarà...2002TV SeriesHimself
The 10 Commandments of Creativity2001TV Movie documentaryHimself
Rosemary's Baby: A Retrospective2000Video documentary shortHimself
Scene by Scene2000TV SeriesHimself
Charlie Rose2000TV SeriesHimself - Guest
Ljuset håller mig sällskap2000DocumentaryHimself - Interviewee
Ostatnie zdjecia2000TV Movie documentaryHimself
Chinatown Revisited with Roman Polanski, Robert Evans and Robert Towne1999Video documentary shortHimself
Biography1995-1999TV Series documentaryHimself
Intimate Portrait1999TV Series documentaryHimself
Sen kväll med Luuk1998TV SeriesHimself
Wetten, dass..?1998TV SeriesHimself
E! True Hollywood Story1998TV Series documentaryHimself
Dracula: The True Story1997TV Movie documentaryHimself
Elle s'appelait Françoise1996TV Movie documentaryHimself
La nuit des Molières1996TV Series documentaryHimself
Empire of the Censors1995TV Movie documentaryHimself
Chico Hamilton: Dancing to a Different Drummer1994Documentary
Hollywood U.K.1993TV Series documentaryHimself / Himself - Contributor
L'envers du décor: Portrait de Pierre Guffroy1992DocumentaryHimself
Le divan1992TV Series documentaryHimself
The 19th Annual Rudolph Valentino Awards1991TV SpecialHimself
7 sur 71982-1988TV SeriesHimself / Himself - Guest
Bains de minuit1988TV SeriesHimself
La tarde1986TV SeriesHimself - Guest
Apostrophes1984TV SeriesHimself
Clive James Meets Roman Polanski1984TV Special documentaryHimself
A fondo1980TV SeriesHimself - Guest
Les rendez-vous du dimanche1976TV SeriesHimself
Weekend of a Champion1972DocumentaryHimself
Polanski Meets Macbeth1972DocumentaryHimself
Cinema1972TV Series documentaryHimself
Ciao, Federico!1970DocumentaryHimself (uncredited)
Apropos Film1970TV Series documentaryHimself
Playboy After Dark1969TV SeriesHimself

Archive Footage

Nunca es tarde2017TV SeriesHimself
Arena2016TV Series documentaryHimself
Roman by Polanski2015DocumentaryHimself
Steve McQueen: The Man & Le Mans2015DocumentaryHimself
Sinatra: All or Nothing at All2015TV Mini-Series documentaryHimself
Hollywood Banker2014DocumentaryHimself
Cinéphiles de notre temps2012TV Series documentaryHimself
Roman Polanski: Odd Man Out2012DocumentaryHimself
Too Young to Die2012TV Series documentaryHimself
I Am Bruce Lee2012TV Movie documentaryHimself
À voir absolument: 1963-1973 Dix années aux Cahiers du Cinéma2011DocumentaryHimself
The Story of Film: An Odyssey2011TV Mini-Series documentaryHimself
Un jour, un destin2010TV Series documentaryHimself
A History of Horror with Mark Gatiss2010TV Mini-Series documentaryHimself
Edición Especial Coleccionista2010TV SeriesAlfred, Abronsius' Assistant
Gilles Jacob: CIitizen Cannes2010TV Movie documentaryHimself
Cinema 32010TV SeriesHimself
Larry King Live2003-2010TV SeriesHimself
Memories of a Young Pianist2009Video documentary shortMan in Tavern (uncredited)
Access Hollywood2009TV SeriesHimself
À l'abordage - L'aventure de pirates2009Video documentaryHimself
Uuden aallon jäljillä2009TV Movie documentaryHimself
A Surreal Pop Movie2008Video documentary shortMosquito (uncredited)
Sydne in Wonderland2008Video documentary shortMosquito (uncredited)
Dateline NBC2008TV Series documentaryHimself
Il falso bugiardo2008Himself
Final Days of an Icon2008TV MovieHimself
Erika Rabau: Puck of Berlin2008DocumentaryHimself
Roman Polanski: Wanted and Desired2008DocumentaryHimself
Spine Tingler! The William Castle Story2007DocumentaryHimself
Cámara negra. Teatro Victoria Eugenia2007TV Short documentaryHimself
British Film Forever2007TV Mini-Series documentaryHimself
Cease to Exist2007DocumentaryHimself - Motion Picture Director
Cannes, 60 ans d'histoires2007TV Movie documentaryHimself
The Fearmakers Collection2007Video documentaryHimself
La tele de tu vida2007TV SeriesHimself
Vinte na Galega2007TV SeriesHimself
La imagen de tu vida2006TV SeriesHimself
Blind Faith: London Hyde Park 19692006VideoHimself
¿De qué te ríes?2006TV MovieAlfred
Cinema mil2005TV SeriesHimself
Final Cut: The Making and Unmaking of Heaven's Gate2004DocumentaryHimself
101 Most Shocking Moments in Entertainment2003TV Movie documentaryHimself
Easy Riders, Raging Bulls: How the Sex, Drugs and Rock 'N' Roll Generation Saved Hollywood2003Documentary
Biography2002TV Series documentaryHimself
The Kid Stays in the Picture2002DocumentaryHimself
The Unbeatable Bruce Lee2001Video documentaryHimself
Serial Killers: Profiling the Criminal Mind1999Video documentaryHimself
E! True Hollywood Story1999TV Series documentaryHimself
Playboy: The Story of X1998Video documentaryHimself
Turning Point1994TV Series documentaryHimself - Film Director
Hugh Hefner: Once Upon a Time1992DocumentaryHimself
Hollywood Babylon1992TV SeriesHimself
The Rock 'n' Roll Years1986TV SeriesHimself
The Evolution of Snuff1978Himself
Lionpower from MGM1967Short uncredited


Won Awards

2014CésarCésar Awards, FranceBest Director (Meilleur réalisateur)La Vénus à la fourrure (2013)
2014Lumiere AwardLumiere Awards, FranceBest Screenplay (Meilleur scénario)La Vénus à la fourrure (2013)
2013Art Cinema AwardHamburg Film FestivalLa Vénus à la fourrure (2013)
2013EaglePolish Film AwardsBest Director (Najlepsza Rezyseria)Carnage (2011)
2013Prix Saint-GermainPrix Saint-GermainBest French FilmLa Vénus à la fourrure (2013)
2012CEC AwardCinema Writers Circle Awards, SpainBest Screenplay, Adapted (Mejor Guión Adaptado)Carnage (2011)
2012CésarCésar Awards, FranceBest Adapted Screenplay (Meilleure adaptation)Carnage (2011)
2012IOMAItalian Online Movie Awards (IOMA)Best Adapted Screenplay (Miglior sceneggiatura non originale)Carnage (2011)
2012Kinema Junpo AwardKinema Junpo AwardsBest Foreign Language FilmThe Ghost Writer (2010)
2011CinEuphoriaCinEuphoria AwardsTop Ten of the Year - International CompetitionThe Ghost Writer (2010)
2011CésarCésar Awards, FranceBest Director (Meilleur réalisateur)The Ghost Writer (2010)
2011CésarCésar Awards, FranceBest Adapted Screenplay (Meilleure adaptation)The Ghost Writer (2010)
2011Lumiere AwardLumiere Awards, FranceBest Director (Meilleur réalisateur)The Ghost Writer (2010)
2011Little Golden LionVenice Film FestivalCarnage (2011)
2011Étoile d'OrÉtoiles d'Or, FranceBest Director (Réalisateur)The Ghost Writer (2010)
2010Silver Berlin BearBerlin International Film FestivalBest DirectorThe Ghost Writer (2010)
2010CinEuphoriaCinEuphoria AwardsTop Films of the Decade - International CompetitionThe Pianist (2002)
2010European Film AwardEuropean Film AwardsEuropean DirectorThe Ghost Writer (2010)
2010European Film AwardEuropean Film AwardsEuropean ScreenwriterThe Ghost Writer (2010)
2010European Film AwardEuropean Film AwardsEuropean FilmThe Ghost Writer (2010)
2010Golden GlobeGolden Globes, ItalyBest European Film (Miglior Film Europeo)The Ghost Writer (2010)
2010FIPRESCI Film of the YearSan Sebastián International Film FestivalThe Ghost Writer (2010)
2009A Tribute to... AwardZurich Film Festival
2007Lifetime Achievement Award for DirectingCamerimage
2006Lifetime Achievement AwardEuropean Film Awards
2004Czech LionCzech LionsBest Foreign Language Film (Nejlepsí zahranicní film)The Pianist (2002)
2004Special Prize for Outstanding Contribution to World CinemaKarlovy Vary International Film Festival
2004Kinema Junpo AwardKinema Junpo AwardsBest Foreign Language FilmThe Pianist (2002)
2004Readers' Choice AwardKinema Junpo AwardsBest Foreign Language FilmThe Pianist (2002)
2004Mainichi Film ConcoursMainichi Film ConcoursBest Foreign Language FilmThe Pianist (2002)
2004Readers' Choice AwardMainichi Film ConcoursBest Foreign Language FilmThe Pianist (2002)
2003OscarAcademy Awards, USABest DirectorThe Pianist (2002)
2003BAFTA Film AwardBAFTA AwardsBest FilmThe Pianist (2002)
2003David Lean Award for DirectionBAFTA AwardsThe Pianist (2002)
2003Movies for Grownups AwardAARP Movies for Grownups AwardsBest DirectorThe Pianist (2002)
2003Honorary AwardBavarian Film Awards
2003Audience Choice AwardBermuda International Film FestivalThe Pianist (2002)
2003World Cinematography AwardCzech Critics Awards
2003CésarCésar Awards, FranceBest Film (Meilleur film)The Pianist (2002)
2003CésarCésar Awards, FranceBest Director (Meilleur réalisateur)The Pianist (2002)
2003DavidDavid di Donatello AwardsBest Foreign Film (Miglior Film Straniero)The Pianist (2002)
2003Fotogramas de PlataFotogramas de PlataBest Foreign Film (Mejor Película Extranjera)The Pianist (2002)
2003Golden GlobeGolden Globes, ItalyBest European Film (Miglior Film Europeo)The Pianist (2002)
2003GoyaGoya AwardsBest European Film (Mejor Película Europea)The Pianist (2002)
2003Silver RibbonItalian National Syndicate of Film JournalistsBest Foreign Director (Regista del Miglior Film Straniero)The Pianist (2002)
2003NSFC AwardNational Society of Film Critics Awards, USABest DirectorThe Pianist (2002)
2003Ecumenical Film AwardNorwegian International Film FestivalThe Pianist (2002)
2003EaglePolish Film AwardsBest Film (Najlepszy Film)The Pianist (2002)
2003EaglePolish Film AwardsBest Director (Najlepsza Rezyseria)The Pianist (2002)
2003Life Achievement AwardPolish Film Awards
2003Audience AwardSant Jordi AwardsBest Foreign Film (Mejor Película Extranjera)The Pianist (2002)
2003Special AwardSant Jordi AwardsFor his whole works.
2003Audience AwardTuria AwardsBest Foreign FilmThe Pianist (2002)
2003Étoile d'OrÉtoiles d'Or, FranceBest Director (Meilleur réalisateur)The Pianist (2002)
2002ACCAAwards Circuit Community AwardsBest DirectorThe Pianist (2002)
2002BSFC AwardBoston Society of Film Critics AwardsBest DirectorThe Pianist (2002)
2002Palme d'OrCannes Film FestivalThe Pianist (2002)
2001Special AwardPolish Film Awards
1999Outstanding European Achievement in World CinemaEuropean Film AwardsThe Ninth Gate (1999)
1999Lifetime Achievement AwardStockholm Film Festival
1993Career Golden LionVenice Film Festival
1981BSFC AwardBoston Society of Film Critics AwardsBest DirectorTess (1979)
1980CésarCésar Awards, FranceBest Film (Meilleur film)Tess (1979)
1980CésarCésar Awards, FranceBest Director (Meilleur réalisateur)Tess (1979)
1980LAFCA AwardLos Angeles Film Critics Association AwardsBest DirectorTess (1979)
1975Golden GlobeGolden Globes, USABest Director - Motion PictureChinatown (1974)
1975BAFTA Film AwardBAFTA AwardsBest DirectionChinatown (1974)
1975BodilBodil AwardsBest Non-European Film (Bedste ikke-europæiske film)Chinatown (1974)
1975Sant JordiSant Jordi AwardsBest Foreign Film (Mejor Película Extranjera)Chinatown (1974)
1972Special RecognitionBerlin International Film FestivalDocumentaryWeekend of a Champion (1972)
1970Critics AwardFrench Syndicate of Cinema CriticsBest Foreign FilmRosemary's Baby (1968)
1969DavidDavid di Donatello AwardsBest Foreign Director (Migliore Regista Straniero)Rosemary's Baby (1968)
1966Golden Berlin BearBerlin International Film FestivalCul-de-sac (1966)
1965Silver Berlin BearBerlin International Film FestivalSpecial Prize of the JuryRepulsion (1965)
1965FIPRESCI PrizeBerlin International Film FestivalRepulsion (1965)
1963Golden DragonKrakow Film FestivalOther FormsSsaki (1962)
1963Best Short FilmMelbourne International Film FestivalUnder 30 minutesLe gros et le maigre (1961)
1963Main PrizeOberhausen International Short Film FestivalSsaki (1962)
1962FIPRESCI PrizeVenice Film FestivalNóz w wodzie (1962)
1959Honorable MentionOberhausen International Short Film FestivalDwaj ludzie z szafa (1958)
1958Golden Gate AwardSan Francisco International Film FestivalBest Short SubjectDwaj ludzie z szafa (1958)

Nominated Awards

2015IOFCP AwardInternational Online Film Critics' PollBest DirectorLa Vénus à la fourrure (2013)
2014CésarCésar Awards, FranceBest Adapted Screenplay (Meilleure adaptation)La Vénus à la fourrure (2013)
2014CésarCésar Awards, FranceBest Film (Meilleur film)La Vénus à la fourrure (2013)
2014DavidDavid di Donatello AwardsBest European Film (Miglior Film dell'Unione Europea)La Vénus à la fourrure (2013)
2014Halfway AwardInternational Online Cinema Awards (INOCA)Best Adapted ScreenplayLa Vénus à la fourrure (2013)
2014IOMAItalian Online Movie Awards (IOMA)Best Adapted Screenplay (Miglior sceneggiatura non originale)La Vénus à la fourrure (2013)
2013Palme d'OrCannes Film FestivalLa Vénus à la fourrure (2013)
2013EaglePolish Film AwardsBest Screenplay (Najlepszy Scenariusz)Carnage (2011)
2012DavidDavid di Donatello AwardsBest European Film (Miglior Film dell'Unione Europea)Carnage (2011)
2012European Film AwardEuropean Film AwardsEuropean ScreenwriterCarnage (2011)
2012GoyaGoya AwardsBest European Film (Mejor Película Europea)Carnage (2011)
2012Silver RibbonItalian National Syndicate of Film JournalistsBest European Director (Regista del Miglior Film Europeo)Carnage (2011)
2012IOMAItalian Online Movie Awards (IOMA)Special Prize for the Best European Film (Premio speciale al miglior film europeo)Carnage (2011)
2011Silver CondorArgentinean Film Critics Association AwardsBest Foreign Film, Not in the Spanish Language (Mejor Película Extranjera)The Ghost Writer (2010)
2011Chlotrudis AwardChlotrudis AwardsBest Adapted ScreenplayThe Ghost Writer (2010)
2011CésarCésar Awards, FranceBest Film (Meilleur film)The Ghost Writer (2010)
2011Gaudí AwardGaudí AwardsBest European Film (Millor Pel·lícula Europea)The Ghost Writer (2010)
2011Gold Derby AwardGold Derby AwardsDirectorThe Ghost Writer (2010)
2011Gold Derby AwardGold Derby AwardsAdapted ScreenplayThe Ghost Writer (2010)
2011GoyaGoya AwardsBest European Film (Mejor Película Europea)The Ghost Writer (2010)
2011ICS AwardInternational Cinephile Society AwardsBest Adapted ScreenplayThe Ghost Writer (2010)
2011IOMAItalian Online Movie Awards (IOMA)Best Picture (Miglior film)The Ghost Writer (2010)
2011IOMAItalian Online Movie Awards (IOMA)Best Director (Miglior regia)The Ghost Writer (2010)
2011IOMAItalian Online Movie Awards (IOMA)Best Adapted Screenplay (Miglior sceneggiatura non originale)The Ghost Writer (2010)
2011OFTA Film AwardOnline Film & Television AssociationBest DirectorThe Ghost Writer (2010)
2011OFTA Film AwardOnline Film & Television AssociationBest Writing, Screenplay Based on Material from Another MediumThe Ghost Writer (2010)
2011USC Scripter AwardUSC Scripter AwardThe Ghost Writer (2010)
2011Golden LionVenice Film FestivalCarnage (2011)
2010Golden Berlin BearBerlin International Film FestivalThe Ghost Writer (2010)
2010Audience AwardEuropean Film AwardsThe Ghost Writer (2010)
2010Gold Derby AwardGold Derby AwardsLife Achievement (Other)
2010ICP AwardIndiewire Critics' PollBest DirectorThe Ghost Writer (2010)
2010Silver RibbonItalian National Syndicate of Film JournalistsBest European Director (Regista del Miglior Film Europeo)The Ghost Writer (2010)
2010Satellite AwardSatellite AwardsBest DirectorThe Ghost Writer (2010)
2010Satellite AwardSatellite AwardsBest Screenplay, AdaptedThe Ghost Writer (2010)
2010VVFP AwardVillage Voice Film PollBest DirectorThe Ghost Writer (2010)
2009Gold Derby AwardGold Derby AwardsLife Achievement (Other)
2006Audience AwardEuropean Film AwardsBest European FilmOliver Twist (2005)
2004Silver CondorArgentinean Film Critics Association AwardsBest Foreign Film (Mejor Película Extranjera)The Pianist (2002)
2003OscarAcademy Awards, USABest PictureThe Pianist (2002)
2003CFCA AwardChicago Film Critics Association AwardsBest DirectorThe Pianist (2002)
2003DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesThe Pianist (2002)
2003IOMAItalian Online Movie Awards (IOMA)Best Director (Miglior regia)The Pianist (2002)
2003VFCC AwardVancouver Film Critics CircleBest DirectorThe Pianist (2002)
2002ACCAAwards Circuit Community AwardsBest Motion PictureThe Pianist (2002)
2002European Film AwardEuropean Film AwardsEuropean FilmThe Pianist (2002)
2002European Film AwardEuropean Film AwardsEuropean DirectorThe Pianist (2002)
2002Sierra AwardLas Vegas Film Critics Society AwardsBest DirectorThe Pianist (2002)
2002VVFP AwardVillage Voice Film PollBest DirectorThe Pianist (2002)
1995International Fantasy Film AwardFantasportoBest FilmDeath and the Maiden (1994)
1995Independent Spirit AwardIndependent Spirit AwardsBest DirectorDeath and the Maiden (1994)
1981OscarAcademy Awards, USABest DirectorTess (1979)
1981Golden GlobeGolden Globes, USABest Director - Motion PictureTess (1979)
1976Palme d'OrCannes Film FestivalLe locataire (1976)
1975OscarAcademy Awards, USABest DirectorChinatown (1974)
1975DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesChinatown (1974)
1972Golden Berlin BearBerlin International Film FestivalWeekend of a Champion (1972)
1971Golden LaurelLaurel AwardsBest Director9th place.
1969OscarAcademy Awards, USABest Writing, Screenplay Based on Material from Another MediumRosemary's Baby (1968)
1969Golden GlobeGolden Globes, USABest ScreenplayRosemary's Baby (1968)
1969DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesRosemary's Baby (1968)
1969EdgarEdgar Allan Poe AwardsBest Motion PictureRosemary's Baby (1968)
1969HugoHugo AwardsBest Dramatic PresentationRosemary's Baby (1968)
1969WGA Award (Screen)Writers Guild of America, USABest Written American DramaRosemary's Baby (1968)
1968Golden LaurelLaurel AwardsDirector10th place.
1965Golden Berlin BearBerlin International Film FestivalRepulsion (1965)

2nd Place Awards

2010VVFP AwardVillage Voice Film PollBest ScreenplayThe Ghost Writer (2010)
2003Critics Choice AwardBroadcast Film Critics Association AwardsBest DirectorThe Pianist (2002)
2002UFCA AwardUtah Film Critics Association AwardsBest DirectorThe Pianist (2002)
1965NYFCC AwardNew York Film Critics Circle AwardsBest DirectorRepulsion (1965)

3rd Place Awards

2011NSFC AwardNational Society of Film Critics Awards, USABest DirectorThe Ghost Writer (2010)
2011NSFC AwardNational Society of Film Critics Awards, USABest ScreenplayThe Ghost Writer (2010)

Source: IMDb, Wikipedia

Write A Comment

Pin It