David O. Selznick filmography
David O. Selznick (1902–1965) was an American motion picture producer whose work consists of three short subjects, 67 feature films, and one television production made between 1923 and 1957. He is perhaps most notable as the producer of the 1939 epic Gone With the Wind. Selznick was born in Pittsburgh and educated in public schools in Brooklyn and Manhattan. He began working in the film industry in New York while in his teens as an assistant to his father, jeweler-turned-film producer Lewis J. Selznick. In 1923, he began producing films himself, starting with two documentary shorts and then a minor feature, Roulette (1924). Moving to Hollywood in 1926, Selznick became employed at Metro-Goldwyn-Mayer (MGM), where he produced two films before switching to Paramount in early 1928. After helping to guide Paramount into the sound era, Selznick moved to RKO Radio in 1931 where he served as the studio's executive producer. During his time at RKO he oversaw the production of King Kong (1933) and helped to develop Katharine Hepburn and Myrna Loy into major film stars.
In 1933 Selznick returned to MGM, this time as a vice-president in charge of his own production unit. During his two years with the studio he produced elaborate versions of Leo Tolstoy's Anna Karenina and Charles Dickens' David Copperfield and A Tale of Two Cities. In 1935, he left MGM to form his own production company, Selznick International Pictures, where he produced adaptations of Robert Smythe Hichens' The Garden of Allah (1936), Frances Hodgson Burnett's Little Lord Fauntleroy (1936), Anthony Hope's The Prisoner of Zenda (1937), and Mark Twain's The Adventures of Tom Sawyer (1938). Selznick also became a pioneer in the use of Technicolor with the first and last of these films and also with his productions of A Star is Born and Nothing Sacred (both 1937). In 1939 Selznick brought Swedish actress Ingrid Bergman to the United States to star in Intermezzo and the following year he brought Alfred Hitchcock over from England to direct Rebecca. Also in 1939, Selznick produced his epic version of Margaret Mitchell's Gone With the Wind, which became the most financially successful film of all time.
Selznick liquidated his corporation in the early 1940s but returned to independent producing in 1943. His work from this period included two more Hitchcock films, Spellbound (1945) and The Paradine Case (1948) and several films starring Jennifer Jones, among them Since You Went Away (1944), Duel in the Sun (1946) and Portrait of Jennie (1948). Selznick ceased his independent productions in 1948. Beginning with Carol Reed's The Third Man (1949), he entered into a period of co-producing motion pictures with other filmmakers. In 1954, he made his sole venture into television with the production Light's Diamond Jubilee. Selznick retired from filmmaking after producing an adaptation of Ernest Hemingway's A Farewell to Arms (1957).
Selznick's productions were the recipients of numerous Academy Award nominations. Two of his films—Gone With the Wind and Rebecca—won Academy Awards for Best Picture. Six other films that he produced—Viva Villa! (1934), David Copperfield (1935), A Tale of Two Cities (1935), A Star is Born (1937), Since You Went Away (1944), and Spellbound (1945)—were nominated for Best Picture. As of 2013, four of the films Selznick produced have been added to the National Film Registry: King Kong (1933), The Prisoner of Zenda (1937), Gone With the Wind (1939), and The Third Man (1949). For his work in motion pictures, Selznick received a star on the Hollywood Walk of Fame.
|"There are only two kinds of class: First class and no class."|
|— David O. Selznick|
- 1 Filmography
- 2 Academy Awards
- 3 Footnotes
- 4 References
- 5 External links
The release dates, titles, and names of the directors for Selznick's films are derived from the filmographies presented in the books Memo From David O. Selznick by Rudy Behlmer and David O. Selznick's Hollywood by Ronald Haver. The quotes are derived from Behlmer's book.
Selznick began working in the film industry while in his early teens. He was employed—after school hours—by his father, film producer Lewis J. Selznick, initially as head of publicity and advertising and later as a newsreel Film editor. When the elder Selznick went bankrupt in 1923, young David took a job as a promoter for a two-reel short about prizefighter Luis Firpo. Afterwards he convinced the Mineralava Beauty Clay Company to produce a two-reel film of a beauty contest they were sponsoring with actor Rudolph Valentino as the judge.
|April 23, 1923||Will He Conquer Dempsey?||(none credited)||Silent|
|1923||Rudolph Valentino and His 88 American Beauties||(none credited)||Silent|
Aetna-Selznick Distributing Corporation
I promoted and made for $17,000 a little picture called Roulette … As I recall, it didn't lose any money, but it didn't make any worth mentioning.— David O. Selznick
|January 19, 1924||Roulette||Taylor, S. E. V.S. E. V. Taylor||Silent|
I become manager of the writer's department, then head of the writer's department, then assistant story editor, then associate story editor, then assistant stooge to Harry Rapf, and then finally was given my chance to make a Tim McCoy Western … I decided that … it would be just as easy to make two of them at a time as one.— David O. Selznick
After the McCoy Westerns, Selznick was assigned as assistant to producer Hunt Stromberg on the film White Shadows in the South Seas (1928). Disagreements with Stromberg and senior producer Irving Thalberg over the choice of the film's director (W. S. Van Dyke or Robert J. Flaherty) led to Selznick's termination with the company.
|March 12, 1928||Spoilers of the West||Van Dyke, W. S.W. S. Van Dyke||Silent|
|March 24, 1928||Wyoming||W. S. Van Dyke||Silent|
In response to my question as to what will happen to Schulberg, he [Lasky] said, in effect, that they would be kicking him upstairs. … One of my rows with Paramount … was my insistence that no one man could possibly personally produce more than a few pictures per year.— David O. Selznick
In early 1928 Selznick accepted the position of assistant to producer B. P. Schulberg at Paramount Studios. The professional relationship between the two, however, eventually deteriorated after Schulberg went to Europe for several months in 1929. During his absence, studio head Jesse L. Lasky placed Selznick into Schulberg's position and decided to keep him there. Selznick remained with Paramount until his resignation in June 1931.
Selznick worked in a variety of jobs (i.e. supervisor, producer, associate producer, executive producer, or substantial contributor). The 13 films listed below were those whose production he was known to be heavily involved in. Except were noted these films are all-talking.
|August 5, 1928||Forgotten Faces||Schertzinger, VictorVictor Schertzinger||Silent|
|March 14, 1929||Chinatown Nights||Wellman, William A.William A. Wellman||Part talking|
|May 27, 1929||Man I Love, TheThe Man I Love||Wellman, William A.William A. Wellman|
|June 12, 1929||Four Feathers, TheThe Four Feathers||Cooper, Merian C.Merian C. Cooper
Ernest B. Schoedsack
|Soundtrack with music and sound effects but no spoken dialogue|
|August 15, 1929||Dance of Life, TheThe Dance of Life||Cromwell, JohnJohn Cromwell
Sutherland, A. EdwardA. Edward Sutherland
|Partly filmed in Technicolor|
|September 14, 1929||Fast Company||Sutherland, A. EdwardA. Edward Sutherland|
|February 2, 1930||Street of Chance||Cromwell, JohnJohn Cromwell|
|March 14, 1930||Sarah and Son||Arzner, DorothyDorothy Arzner|
|March 27, 1930||Honey||Ruggles, WesleyWesley Ruggles|
|May 1, 1930||Texan, TheThe Texan||Cromwell, JohnJohn Cromwell|
|July 18, 1930||For the Defense||Cromwell, JohnJohn Cromwell|
|July 23, 1930||Manslaughter||Abbott, GeorgeGeorge Abbott|
|November 15, 1930||Laughter||d'Arrast, Harry d'AbbadieHarry d'Abbadie d'Arrast|
I sold him [David Sarnoff, President of RCA, parent company at the time to RKO Radio and RKO Pathé] the idea of putting me in charge not only of production at RKO, but also his rival production unit, Pathé. In October 1931, I signed a contract to take over both and to merge them. I stayed at RKO until my contract expired in 1933. My new contract … was about to be signed when "Deac" Aylesworth became head of the company. Aylesworth insisted upon the new but still unsigned contract being changed to the extent of giving him approval of everything connected with production. I refused to accept this.— David O. Selznick
In 1931 Selznick and director Lewis Milestone attempted to form their own production company. After several months, however, the two were unsuccessful in achieving financial backing. Milestone eventually accepted an offer to because head of production at United Artists while Selznick accepted a similar position at RKO Radio.
As Vice-President in Charge of Production, Selznick was personally involved in the 20 RKO films listed here.
|March 10, 1932||Lost Squadron, TheThe Lost Squadron||Archainbaud, GeorgeGeorge Archainbaud|
|April 14, 1932||Symphony of Six Million||La Cava, GregoryGregory La Cava|
|May 5, 1932||State's Attorney||Archainbaud, GeorgeGeorge Archainbaud|
|June 3, 1932||Westward Passage||Milton, RobertRobert Milton|
|July 9, 1932||What Price Hollywood?||Cukor, GeorgeGeorge Cukor|
|July 23, 1932||Roar of the Dragon||Ruggles, WesleyWesley Ruggles|
|August 12, 1932||Age of Consent, TheThe Age of Consent||La Cava, GregoryGregory La Cava|
|September 2, 1932||Bird of Paradise||Vidor, KingKing Vidor|
|October 2, 1932||Bill of Divorcement, AA Bill of Divorcement||Cukor, GeorgeGeorge Cukor||Film debut of Katharine Hepburn|
|November 20, 1932||Conquerors, TheThe Conquerors||Wellman, William A.William A. Wellman|
|December 4, 1932||Rockabye||Cukor, GeorgeGeorge Cukor|
|December 25, 1932||Half-Naked Truth, TheThe Half-Naked Truth||La Cava, GregoryGregory La Cava|
|December 29, 1932||Animal Kingdom, TheThe Animal Kingdom||Griffith, Edward H.Edward H. Griffith|
|February 9, 1933||Topaze||d'Arrast, Harry d'AbbadieHarry d'Abbadie d'Arrast|
|February 16, 1933||Great Jasper, TheThe Great Jasper||Rubin, J. WalterJ. Walter Rubin|
|February 23, 1933||Our Betters||Cukor, GeorgeGeorge Cukor|
|March 2, 1933||King Kong||Cooper, Merian C.Merian C. Cooper
Ernest B. Schoedsack
|Added to the National Film Registry in 1991|
|March 9, 1933||Christopher Strong||Arzner, DorothyDorothy Arzner|
|March 23, 1933||Sweepings||Cromwell, JohnJohn Cromwell|
|May 30, 1933||Monkey's Paw, TheThe Monkey's Paw||Ruggles, WesleyWesley Ruggles|
After refusing to sign a new contract with RKO, Selznick returned to MGM in 1933, this time in the position as vice-president in charge of his own unit. During the next two years he personally produced 11 features for the studio before departing to form his own production company.
|August 23, 1933||Dinner at Eight||Cukor, GeorgeGeorge Cukor|
|October 5, 1933||Night Flight||Brown, ClarenceClarence Brown|
|October 27, 1933||Meet the Baron||Lang, WalterWalter Lang|
|December 2, 1933||Dancing Lady||Leonard, Robert Z.Robert Z. Leonard||Film debut of Fred Astaire and an early appearance by Nelson Eddy|
|April 10, 1934||Viva Villa!||Conway, JackJack Conway|
|May 4, 1934||Manhattan Melodrama||Van Dyke, W. S.W. S. Van Dyke||On July 22, 1934, gangster John Dillinger was gunned down by FBI agents after watching this film at the Biograph Theater in Chicago, Illinois|
|January 18, 1935||David Copperfield||Cukor, GeorgeGeorge Cukor|
|March 22, 1935||Vanessa: Her Love Story||Howard, William K.William K. Howard|
|April 18, 1935||Reckless||Fleming, VictorVictor Fleming|
|August 30, 1935||Anna Karenina||Brown, ClarenceClarence Brown|
|December 25, 1935||A Tale of Two Cities||Conway, JackJack Conway|
Selznick International Pictures
I simply had to fulfill my ambitions of starting my own company. It had always been an obsession of mine … that there be no interference with our work; that we must have authority.— David O. Selznick
In 1935 Selznick left MGM to form his own production company, Selznick International Pictures. He also took over the operation of Pioneer Pictures, a production company designed to produce films in Technicolor and formed by his friend and ex-associate (at RKO) Merian C. Cooper. Selznick International produced a total of 11 features, of which all but one were distributed by United Artists. Gone With the Wind was released by MGM as part of a deal with Selznick in exchange for the loan of Clark Gable in the role of Rhett Butler.
|April 2, 1936||Little Lord Fauntleroy||Cromwell, JohnJohn Cromwell|
|November 19, 1936||The Garden of Allah||Boleslawski, RichardRichard Boleslawski||Filmed in Technicolor|
|April 21, 1937||A Star Is Born||Wellman, William A.William A. Wellman||Filmed in Technicolor|
|September 2, 1937||The Prisoner of Zenda||Cromwell, JohnJohn Cromwell||Originally released in sepiatone
Added to the National Film Registry in 1991.
|November 25, 1937||Nothing Sacred||Wellman, William A.William A. Wellman||Filmed in Technicolor|
|February 17, 1938||The Adventures of Tom Sawyer||Taurog, NormanNorman Taurog||Filmed in Technicolor|
|November 3, 1938||The Young in Heart||Wallace, RichardRichard Wallace|
|February 16, 1939||Made for Each Other||Cromwell, JohnJohn Cromwell|
|October 5, 1939||Intermezzo: A Love Story||Ratoff, GregoryGregory Ratoff||First American film appearance of Ingrid Bergman|
|December 15, 1939||Gone with the Wind||Fleming, VictorVictor Fleming||Filmed in Technicolor
Added to the National Film Registry in 1989
|March 27, 1940||Rebecca||Hitchcock, AlfredAlfred Hitchcock||Won the Academy Award for Best Picture|
Vanguard Films, Selznick Releasing Organization
Following the highly successful releases of Gone With the Wind and Rebecca, Selznick began a three-year liquidation of Selznick International Pictures in order to draw profits for himself and his outside investors. He developed and sold film projects to other producers and studios, and arranged loan outs of his contracted artists. Without outside backers he formed David O. Selznick Productions, Inc., which in 1941 became owner of one-fourth of United Artists.
Selznick established a film production company, Vanguard Films (1943–1951). The first three features for his new company were distributed by United Artists. In 1946 Selznick broke with UA over the distribution of Duel in the Sun, and founded his own distribution company, Selznick Releasing Organization.
|May 18, 1944||Reward Unlimited||Tourneur, JacquesJacques Tourneur||A one-reel short subject for the United States Public Health Service; distributed by the Office of War Information|
|July 20, 1944||Since You Went Away||Cromwell, JohnJohn Cromwell||Also writer
Released by United Artists
|December 25, 1944||I'll Be Seeing You||Dieterle, WilliamWilliam Dieterle||Released by United Artists|
|November 1, 1945||Spellbound||Hitchcock, AlfredAlfred Hitchcock||One shot in color
Released by United Artists
|February 7, 1946||Spiral Staircase, TheThe Spiral Staircase||Siodmak, RobertRobert Siodmak||Produced by Vanguard Films and RKO Pictures; distributed by RKO|
|December 30, 1946||Duel in the Sun||Vidor, KingKing Vidor||Filmed in Technicolor
Released by Selznick Releasing Organization
|December 31, 1947||The Paradine Case||Hitchcock, AlfredAlfred Hitchcock||Released by Selznick Releasing Organization|
|December 25, 1948||Portrait of Jennie||Dieterle, WilliamWilliam Dieterle||Final reel tinted and final shot in Technicolor
Released by Selznick Releasing Organization
I was tired … Additionally, it was crystal clear that the motion picture business was in for a terrible beating from television … My company financed itself with bank loans; and these loans, with interest, had been extended to a total of about $12,000,000 … as part of the plans for the liquidation of my company and its debts, we devised what has since become known as coproduction.— David O. Selznick
In 1949 Selznick closed down his production facilities and he greatly reduced the staff of Selznick Releasing Organization. He and Jennifer Jones began traveling in Europe and were married in July 1949. For the remainder of his career he collaborated with other film producers and also made his sole venture into television.
|June 4, 1946||Mr. Blandings Builds His Dream House||Potter, H. C.H. C. Potter||Distributed by Selznick Releasing Organization; produced by RKO Pictures|
|September 30, 1948||Fallen Idol, TheThe Fallen Idol||Reed, CarolCarol Reed||U.S. release November 14, 1949
Distributed in the Western Hemisphere by Selznick Releasing Organization
|September 2, 1949||Third Man, TheThe Third Man||Reed, CarolCarol Reed||U.S. release February 2, 1950
A British film co-produced by Selznick and Alexander Korda and distributed in the U.S. by Selznick Releasing Organization. Selznick also provided some minor re-editing for the U.S. release.
|August 21, 1950||Wild Heart, TheThe Wild Heart||Powell, MichaelMichael Powell
|U.S. release May 28, 1952
U.K. title Gone to Earth
A British Lion production made in England, co-produced with Alexander Korda. Selznick supervised reshooting (by Rouben Mamoulian) of nearly one-third of the film for its U.S. release by RKO Radio under the title The Wild Heart.
|October 14, 1950||Walk Softly, Stranger||Stevenson, RobertRobert Stevenson||Produced by Vanguard Films and RKO Pictures; distributed by RKO|
|May 27, 1954||Stazione Termini
|De Sica, VittorioVittorio De Sica||Filmed in Technicolor
An Italian film co-produced by Selznick, who re-cut the film for its U.S. release by Columbia Pictures under the title Indiscretion of an American Wife
|October 24, 1954||Light's Diamond Jubilee||Vidor, KingKing Vidor
William A. Wellman
|A two-hour television special celebrating the 75th anniversary of Thomas Edison's invention of the incandescent lamp; aired simultaneously on the ABC, CBS, DuMont, and NBC television networks|
|December 19, 1957||Farewell to Arms, AA Farewell to Arms||Vidor, CharlesCharles Vidor||Filmed in CinemaScope and color by DeLuxe
Produced by Selznick for Twentieth Century-Fox
Of the 68 features that Selznick produced 22 received a total of 82 Academy Award nominations with 21 wins. In addition to these Selznick himself was twice nominated for the Irving G. Thalberg Memorial Award. He won the second of these two nominations.
|3rd Academy Awards—1929/30|
|Street of Chance||Best Writing (Adapted Screenplay)||Estabrook, HowardHoward EstabrookI||Nominated|
|4th Academy Awards—1930/31|
|Laughter||Best Story||d'Arrast, Harry d'AbbadieHarry d'Abbadie d'Arrast, Douglas Doty, Donald Ogden Stewart||Nominated|
|5th Academy Awards—1931/32|
|What Price Hollywood?||Best Story||St. Johns, Adela RogersAdela Rogers St. Johns, Jane Murfin||Nominated|
|7th Academy Awards—1934|
|Viva Villa!||Best Picture||Metro-Goldwyn-Mayer||Nominated|
|Best Assistant Director||John Waters||Won|
|Best Sound||Shearer, DouglasDouglas Shearer||Nominated|
|Best Writing (Adapted Screenplay)||Hecht, BenBen HechtII||Nominated|
|Manhattan Melodrama||Best Story||Caesar, ArthurArthur Caesar||Won|
|8th Academy Awards—1935|
|David Copperfield||Best Picture||Metro-Goldwyn-Mayer||Nominated|
|Best Assistant Director||Joseph NewmanII||Nominated|
|Best Film Editing||Kern, Robert J.Robert J. Kern||Nominated|
|9th Academy Awards—1936|
|A Tale of Two Cities||Best Picture||Metro-Goldwyn-Mayer||Nominated|
|Best Film Editing||Nervig, Conrad A.Conrad A. Nervig||Nominated|
|The Garden of Allah||Best Assistant Director||Stacey, Eric G.Eric G. Stacey||Nominated|
|Best Original Score||Steiner, MaxMax Steiner||Nominated|
|Honorary Award||Greene, W. HowardW. Howard Greene and Harold RossonIII||Won|
|10th Academy Awards—1937|
|A Star is Born||Best Picture||International, SelznickSelznick International||Nominated|
|Best Actor||March, FredricFredric March (as Norman Maine)||Nominated|
|Best Actress||Gaynor, JanetJanet Gaynor (as Esther Blodgett / Vicki Lester)||Nominated|
|Best Assistant Director||Stacey, Eric G.Eric G. Stacey||Nominated|
|Best Director||Wellman, William A.William A. Wellman||Nominated|
|Best Story||William A. Wellman, Robert Carson||Won|
|Best Writing (Adapted Screenplay)||Parker, DorothyDorothy Parker, Alan Campbell, Robert Carson||Nominated|
|Honorary Award||Greene, W. HowardW. Howard GreeneIV||Won|
|The Prisoner of Zenda||Best Art Direction||Wheeler, LyleLyle Wheeler||Nominated|
|Best Original Score||Newman, AlfredAlfred Newman||Nominated|
|11th Academy Awards—1938|
|The Adventures of Tom Sawyer||Best Art Direction||Wheeler, LyleLyle Wheeler||Nominated|
|The Young in Heart||Cinematography||Shamroy, LeonLeon Shamroy||Nominated|
|Best Original Score||Waxman, FranzFranz Waxman||Nominated|
|—||Irving G. Thalberg Memorial Award||David O. Selznick||NominatedV|
|12th Academy Awards—1939|
|Intermezzo: A Love Story||Best Cinematography (Black-and-white)||Toland, GreggGregg Toland||NominatedVI|
|Best Scoring||Lou Forbes||Nominated|
|Gone with the Wind||Best Picture||Selznick International Pictures||Won|
|Best Actor||Gable, ClarkClark Gable (as Rhett Butler)||Nominated|
|Best Actress||Leigh, VivienVivien Leigh (as Scarlett O'Hara)||Won|
|Best Supporting Actress||de Havilland, OliviaOlivia de Havilland (as Melanie Hamilton)||Nominated|
|McDaniel, HattieHattie McDaniel (as Mammy)||Won|
|Best Art Direction||Wheeler, LyleLyle Wheeler||Won|
|Best Cinematography (color)||Haller, ErnestErnest Haller, Ray Rennahan||Won|
|Best Director||Fleming, VictorVictor Fleming||Won|
|Best Film Editing||Kern, Hal C.Hal C. Kern, James E. Newcom||Won|
|Best Original Score||Steiner, MaxMax Steiner||Nominated|
|Best Sound||Moulton, Thomas T.Thomas T. Moulton||Nominated|
|Best Visual Effects||Cosgrove, John R.John R. Cosgrove, Fred Albin, Arthur Johns||Nominated|
|Best Writing (Adapted Screenplay)||Howard, SidneySidney HowardVII||Won|
|Honorary Award||Menzies, William CameronWilliam Cameron MenziesVIII||Won|
|Technical Achievement (Class III)||multipleVIX||Won|
|—||Irving G. Thalberg Memorial Award||David O. Selznick||Won|
|13th Academy Awards—1940|
|Rebecca||Best Picture||Selznick International Pictures||Won|
|Best Actor||Olivier, LaurenceLaurence Olivier (as Maxim De Winter)||Nominated|
|Best Actress||Fontaine, JoanJoan Fontaine (as Mrs. De Winter)||Nominated|
|Best Supporting Actress||Anderson, JudithJudith Anderson (as Mrs. Danvers)||Nominated|
|Academy Award for Best Art Direction (Black-and-white)||Wheeler, LyleLyle Wheeler||Nominated|
|Best Cinematography (Black-and-white)||Barnes, GeorgeGeorge Barnes||Won|
|Best Director||Hitchcock, AlfredAlfred Hitchcock||Nominated|
|Best Film Editing||Kern, Hal C.Hal C. Kern||Nominated|
|Best Original Score||Waxman, FranzFranz Waxman||Nominated|
|Best Visual Effects||Cosgrove, JackJack Cosgrove (Photographic Effects)
Arthur Johns (Sound Effects)
|Best Writing (Adapted Screenplay)||Sherwood, Robert E.Robert E. Sherwood, Joan Harrison||Nominated|
|17th Academy Awards—1944|
|Since You Went Away||Best Picture||Selznick International Pictures||Nominated|
|Best Actress||Colbert, ClaudetteClaudette Colbert (as Anne Hilton)||Nominated|
|Best Supporting Actor||Woolley, MontyMonty Woolley (as Colonel Smollett)||Nominated|
|Best Supporting Actress||Jones, JenniferJennifer Jones (as Jane Hilton)||Nominated|
|Best Art Direction (Black-and-white)||Kirk, Mark-LeeMark-Lee Kirk (Art Direction)
Victor A.Gangelin (Interior Decoration)
|Best Cinematography (Black-and-white)||Cortez, StanleyStanley Cortez, Lee Garmes||Nominated|
|Best Film Editing||Kern, Hal C.Hal C. Kern, James E. Newcom||Nominated|
|Best Original Score||Steiner, MaxMax Steiner||Won|
|Best Visual Effects||Cosgrove, John R.John R. Cosgrove (Photographic Effects)
Arthur Johns (Sound effects)
|18th Academy Awards—1945|
|Spellbound||Best Picture||Selznick International Pictures||Nominated|
|Best Supporting Actor||Chekhov, MichaelMichael Chekhov (as Dr. Alex Brulov)||Nominated|
|Best Director||Hitchcock, AlfredAlfred Hitchcock||Nominated|
|Best Cinematography (Black-and-white)||Barnes, GeorgeGeorge Barnes||Nominated|
|Best Original Score||Rozsa, MiklosMiklos Rozsa||Won|
|Best Visual Effects||Cosgrove, JackJack Cosgrove||Nominated|
|19th Academy Awards—1946|
|Duel in the Sun||Best Actress||Jones, JenniferJennifer Jones (as Pearl Chavez)||Nominated|
|Best Supporting Actress||Gish, LillianLillian Gish (as Belle McCanles)||Nominated|
|20th Academy Awards—1947|
|The Paradine Case||Best Supporting Actress||Barrymore, EthelEthel Barrymore (as Lady Sophie Horfield)||Nominated|
|21st Academy Awards—1948|
|Portrait of Jennie||Best Cinematography (Black-and-white)||August, Joseph H.Joseph H. August||Nominated|
|Best Visual Effects||Eagler, PaulPaul Eagler, J. McMillan Johnson, Russell Shearman, Clarence Slifer (Special Visual Effects)
Charles L. Freeman, James G. Stewart (Special Audible Effects)
|23rd Academy Awards—1950|
|The Third Man||Best Cinematography (Black-and-white)||Krasker, RobertRobert Krasker||Won|
|Best Director||Reed, CarolCarol Reed||Nominated|
|Best Film Editing||Hafenrichter, OswaldOswald Hafenrichter||Nominated|
|27th Academy Awards—1954|
|Indiscretion of an American Wife||Best Costume Design (Black-and-white)||Dior, ChristianChristian Dior||Nominated|
^I For the Third Academy Awards no certificates of nomination were given out in this category, only the titles of the nominated films and their companies were listed. When the winners were revealed, only the names of the individuals involved with the winning achievements were announced.
^II Named in third place.
^III "For the color cinematography of the Selznick International Production, The Garden of Allah."
^IV "For the color photography of A Star is Born." (This award was recommended by a committee of leading cinematographers after viewing all the color pictures made during the year.)
^V This is the only year that nominations were announced for the Thalberg award.
^VI This was not an official nomination. The title was on a preliminary list of submissions/nominees from the studios from which the two official nominees (Stagecoach and Wuthering Heights) would be selected.
^VII Awarded posthumously
^VIII "For outstanding achievement in the use of color for the enhancement of dramatic mood in the production of Gone with the Wind."
^VIX "For important contributions in cooperative development of new improved process Projection Equipment: F. R. Abbott, Haller Belt, Alan Cook and The Bausch & Lomb Optical Company For Faster Projection Lenses; The Mitchell Camera Company for a new type process Projection Head; Mole-Richardson Company for a new type automatically controlled projection arc lamp; Charles Handley, David Joy and the National Carbon Company for improved and more stable high-intensity carbons; Winton Hoch and the Technicolor Motion Picture Corp. for an auxiliary optical system; Don Musgrave and Selznick International Pictures, Inc. for pioneering in the use of coordinated equipment in the production, Gone with the Wind."
- "David O. Selznick, 63, Producer Of 'Gone With the Wind', Dies". The New York Times. June 23, 1965. Retrieved October 18, 2011.
- Behlmer 1972, pp. 3–4
- Behlmer 1972, pp. 4–6
- Behlmer 1972, p. 6
- Haver 1980, pp. 30, 36
- Behlmer 1972, pp. 42–43
- "'Avatar' success still far behind 'Gone with the Wind'". International Business Times. 2010. Retrieved May 29, 2010.
- Behlmer 1972, p. 413
- "The 12th Academy Awards (1940) Nominees and Winners". Academy of Motion Picture Arts and Sciences. 2011. Retrieved September 8, 2011.
- "The 13th Academy Awards (1941) Nominees and Winners". Academy of Motion Picture Arts and Sciences. 2011. Retrieved September 7, 2011.
- "The 7th Academy Awards (1935) Nominees and Winners". Academy of Motion Picture Arts and Sciences. 2011. Retrieved May 20, 2016.
- "The 8th Academy Awards (1936) Nominees and Winners". Academy of Motion Picture Arts and Sciences. 2011. Retrieved September 7, 2011.
- "The 9th Academy Awards (1937) Nominees and Winners". Academy of Motion Picture Arts and Sciences. 2011. Retrieved September 7, 2011.
- "The 10th Academy Awards (1938) Nominees and Winners". Academy of Motion Picture Arts and Sciences. 2011. Retrieved September 7, 2011.
- "The 17th Academy Awards (1945) Nominees and Winners". Academy of Motion Picture Arts and Sciences. 2011. Retrieved September 7, 2011.
- "Films Selected to The National Film Registry, Library of Congress 1989–2009". Library of Congress. 2008. Retrieved May 30, 2010.
- "David O. Selznick". Hollywood Walk of Fame. Retrieved May 20, 2016.
- Haver 1980, p. 1
- Behlmer 1972, pp. 505–508
- Haver 1980, pp. 414–417
- Behlmer 1972, p. 8
- Behlmer 1972, p. 15
- Behlmer 1972, p. 41
- Behlmer 1972, p. 505
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