Sidney Lumet Net Worth
Sidney Lumet Net Worth is
$400,000
Sidney Lumet Bio/Wiki, Net Worth, Married 2018
Sidney Arthur Lumet (/luːˈmɛt/ loo-MET; June 25, 1924 – April 9, 2011) was an American director, producer and screenwriter with over 50 films to his credit. He was nominated for the Academy Award as Best Director for 12 Angry Men (1957), Dog Day Afternoon (1975), Network (1976) and The Verdict (1982). He did not win an individual Academy Award, but he did receive an Academy Honorary Award and 14 of his films were nominated for various Oscars, such as Network, which was nominated for ten, winning four.The Encyclopedia of Hollywood states that Lumet was one of the most prolific directors of the modern era, making more than one movie per year on average since his directorial debut in 1957. He was noted by Turner Classic Movies for his "strong direction of actors", "vigorous storytelling" and the "social realism" in his best work. Film critic Roger Ebert described him as having been "one of the finest craftsmen and warmest humanitarians among all film directors." Lumet was also known as an "actor's director," having worked with the best of them during his career, probably more than "any other director." Sean Connery, who acted in five of his films, considered him one of his favorite directors, and a director who had that "vision thing."A founding member of New York's Actors Studio, Lumet began his directorial career in Off-Broadway productions, then became a highly efficient TV director. His first movie was typical of his best work: a well-acted, tightly written, deeply considered "problem picture," 12 Angry Men (1957). From that point on Lumet divided his energies among other idealistic problem pictures along with literate adaptations of plays and novels, big stylish pictures, New York-based black comedies, and realistic crime dramas, including Serpico and Prince of the City. As a result of directing 12 Angry Men, he was also responsible for leading the first wave of directors who made a successful transition from TV to movies.In 2005, Lumet received an Academy Award for Lifetime Achievement for his "brilliant services to screenwriters, performers, and the art of the motion picture." Two years later, he concluded his career with the acclaimed drama Before the Devil Knows You're Dead (2007). A few months after Lumet's death in April 2011, a retrospective celebration of his work was held at New York's Lincoln Center with the appearance of numerous speakers and film stars. | Date Of Birth | June 25, 1924, Philadelphia, Pennsylvania, United States |
| Died | April 9, 2011, Manhattan, New York City, New York, United States |
| Place Of Birth | Philadelphia, Pennsylvania, USA |
| Height | 5' 5" (1.65 m) |
| Profession | Director, Producer, Writer |
| Spouse | Mary Gimbel (m. 1980–2011) |
| Children | Jenny Lumet, Amy Lumet |
| Star Sign | Cancer |
| # | Trademark |
|---|---|
| 1 | Recurring themes of corrupt or inept authority figures |
| 2 | Films often take place in single confined locations |
| 3 | Most of his films were shot in New York City and almost none of them were shot in Hollywood |
| 4 | Films often take place over a short period of time |
| 5 | His characters are often persecuted men striving for justice |
| 6 | Keeps a realistic atmosphere by using very little music |
| 7 | On all his films he assembles the cast for a two week rehearsal in which they perform the script from beginning to end like a play. This cuts down on the need for repeated takes during filming. |
| 8 | Highly dialogue driven films, with a lot of speeches and dramatic verbal duels. |
| # | Quote |
|---|---|
| 1 | I only said Titanic (1997) is unwatchable because one can not watch it. |
| 2 | [on being asked "Does it still rankle not to have won an Oscar?"] Sure, and anyone who says it doesn't matter is talking bullshit. Of course it matters! First of all, the difference between winning and losing can be $3 or $4 million on your next fee. So let's start with that. And maybe this is a very subjective reaction, but it seems to me that I've always lost to crap. |
| 3 | [on Elia Kazan] What moves me most about his work is his pioneering spirit. Emotions, passions were put up on the screen. That Mediterranean release is responsible for a lot of what we're doing today. |
| 4 | [on his film Network (1976) losing the Oscar for Best Picture to Rocky (1976)] There was no trace of an accent. It's embarrassing that Rocky beat us out. Chayefsky (Paddy Chayefsky) was so prescient. Everyone was saying we were going to take it all. And on the flight out to L.A., he said, 'Rocky's going to take Best Picture.' And I said, 'No, no, it's a dopey little movie.' And he said, 'It's just the sort of sentimental crap they love out there.' And he was right. |
| 5 | [on The Hill (1965)] I knew when I was sent that script that Sean (Sean Connery) could act. |
| 6 | As I'm rehearsing, I slowly evolve into the style in which I'm going to shoot the movie. |
| 7 | The law fascinates me. |
| 8 | Goodfellas (1990) is a superb movie. And The Sopranos (1999) is a brilliant television show. And they are very truthful. |
| 9 | Directors today - the younger ones - are very different, not better or worse, mind you. I think that Steven Spielberg is as sensitive as I am - probably more so. The primary difference is a subtle yet profound one. I think you can draw a solid line between the directors who were brought up on television - who spent their childhoods watching television - and those who didn't. That reflects the film's content and how the film is shot. Two totally different types of directors and two totally different types of movies. |
| 10 | There's no real difference in acting between theater and film. Well, there's one difference -- you can get away with more in the theater; you can take it easier than you can in film. But that cliché about how you have to reduce the performance , make it smaller for film, isn't true. You just have to work more honestly. |
| 11 | I don't have any particular theory on adapting stage works to film. I take them one at a time. I didn't open up Long Day's Journey Into Night (1962) at all, except for that scene on the porch, which was important, given the title. I don't believe in opening it up if you lose tension, lose characterizations, or lose the story. I opened up Deathtrap (1982) very, very little because it would have let the tension out. It's a psychological thing. Confinement can work for you. |
| 12 | Good acting is really self-revaluation, and that's a very painful, complicated, and frightening process, and it takes time to get people free enough to do that. |
| 13 | I like being described as the actor's director because it comes primarily from the fact that they open up with me more than they do with most directors. |
| 14 | I once asked Akira Kurosawa why he had chosen to frame a shot in Ran (1985) in a particular way. His answer was that if he'd panned the camera one inch to the left, the Sony factory would be sitting there exposed, and if he'd panned an inch to the right, we would see the airport. |
| 15 | In Hollywood, actors learn to act from watching television. In New York people learn to act by walking down the street. |
| 16 | If I'm moved by a scene, a situation... I have to assume that that's going to work for an audience. |
| 17 | While the goal of all movies is to entertain, the kind of film in which I believe goes one step further. It compels the spectator to examine one facet or another of his own conscience. It stimulates thought and sets the mental juices flowing. |
| 18 | [on New York City]: Locations are characters in my movies. The city is capable of portraying a mood a scene requires. |
| 19 | [on the art of film]: I don't think art changes anything. I do it because I like it and it's a wonderful way to spend your life. |
| 20 | [on being awarded an Honorary Academy Award in 2007]: I wanted one, damn it, and I felt I deserved one. |
| 21 | (on actors): I understand what they're going through. The self-exposure, which is at the heart of all their work, is done using their own body. It's their sexuality, their strength or weakness, their fear. And that's extremely painful. And when they're not doing it in their performance, they pull back. They get shy. Paul Newman, who I worked with on The Verdict (1982), is one of the shyest men I've ever met. That's why rehearsal is so important. |
| 22 | Look, on a movie, we're all giving each other something precious. No bullshit, I can't think of a better job. It's not a technique. I'm not a fool. I think I'm a talented man. But then there's luck. I think there's a reason luck doesn't always happen to others. They don't know how to prepare the groundwork for luck. I do. |
| 23 | While the goal of all movies is to entertain, the kind of film is which I believe goes one step further. It compels the spectator to examine one facet or another of his own conscience. It stimulates thought and sets the mental juices flowing. |
| 24 | [on Akira Kurosawa] Kurosawa never affected me directly in terms of my own movie-making because I never would have presumed that I was capable of that perception and that vision. |
| 25 | [on Ralph Richardson] There's no secret about the fact that Ralph is terrified of the camera. But, at the same time, he is unquestionably a great actor. Yet, he looks to a director, too. |
| 26 | [on Tab Hunter] Also talented, but primarily a character actor, yet always used as a leading man because he's so pretty. I've seen him do character parts in which he's really great. But, as a leading man, he tightens up. Mostly, he turned to character work in American television when his Hollywood career started going sour. Then, he played the roles of psychotic killers and so forth, and his talent became clear. |
| 27 | [on Paul Newman] Paul's always been one of the best actors we've got, but there was that great stone face and those gorgeous blue eyes and a lot of people assumed he couldn't act. He got relegated to leading man parts and he wasn't using a quarter of his talent. Now he's able to cut loose and do sensational work. |
| 28 | [on Christopher Reeve] What seemed such a nice, simple, artless performance in Superman (1978) was the finest kind of acting. Reeve's timing -- and humor -- has to be just about perfect to make the character come off. |
| 29 | [Oct 2007] Anything you can do with film, I can do with HD. |
| 30 | (Oct. 2007) Melodrama is a much maligned genre. And I hope we can bring it back into fashion. I always think of melodrama as the thing we are all capable of that's swept under the rug. |
| 31 | [from 1973] All I want to do is get better and quantity can help me to solve my problems. I'm thrilled by the idea that I'm not even sure how many films I've done. If I don't have a script I adore, I do one I like. If I don't have one I like, I do one that has an actor I like or that presents some technical challenge. |
| 32 | All great work is preparing yourself for the accident to happen. |
| 33 | If a director comes in from California and doesn't know the city at all, he picks the Empire State Building and all the postcard shots, and that, of course, isn't the city. |
| 34 | There's no such thing as a small part. There are just small actors. |
| # | Fact |
|---|---|
| 1 | He directed Sean Connery in five films: The Hill (1965), The Anderson Tapes (1971), The Offence (1973), Murder on the Orient Express (1974) and Family Business (1989). |
| 2 | Sidney Lumet adapted two novels written by Robert Daley which were titled Prince of the City and Tainted Evidence. The films they were made into were titled Prince of the City and Night Falls on Manhattan. |
| 3 | According to Roger Ebert, Lumet had a theory about why Marlon Brando's performances were so uneven. In a review of a bad film starring Brando, Ebert outlined this idea in detail: Lumet said that on the first scene he filmed for any director, Brando would do exactly two takes. In one of the takes, Brando would be putting technical skill and background research into his reading, and in the other he would simply recite his lines as blandly as possible. If the director used the bland take, Brando would proceed to sleepwalk though his performance for the entirety of filming. |
| 4 | In the early 1970's, Lumet was offered the directing job for a new version of the best-selling novel "Marjorie Morningstar" and went to meet with the studio because he found the novel's take on the Jewish American experience fascinating. However, Lumet was disgusted when the studio executives made it clear they wanted him to "de-ethnic" the film and not cast any Jewish actors in the main roles. Lumet recounted in his book "Making Movies" that he was sarcastic about this plan and actually got fired from the project (which ended up never being made) less than an hour into the only meeting he attended. |
| 5 | Had a reputation of bringing in films under budget and ahead of schedule. |
| 6 | Lumet was an assistant director or director on some 250 live TV programs. |
| 7 | According to Lumet, he was inspired by the work of Carl Dreyer, Jean Vigo, Jean Renoir, and Robert Bresson in particular. |
| 8 | Associated with New York based and themed films. |
| 9 | Was a democrat. |
| 10 | Two of his films, 12 Angry Men (1957) and The Fugitive Kind (1960), are in the Criterion Collection. |
| 11 | He directed his father Baruch Lumet in two films: The Pawnbroker (1964) and The Group (1966). |
| 12 | His final resting place is New Mount Carmel Cemetery in Glendale, New York. |
| 13 | Stepfather of sound editor Leslie Gimbel and Bailey Gimbel. |
| 14 | Longtime friend of John Connell. |
| 15 | Directed two of the American Film Institute's 100 Greatest Movies: Network (1976) at #64 and 12 Angry Men (1957) at #87. |
| 16 | He lived in New York City and East Hampton, Long Island, New York. |
| 17 | He is survived by his wife, Mary Gimbel of New York City; stepdaughter, Leslie Gimbel; two daughters, Amy Lumet and Jenny Lumet, from his marriage to Gail Lumet Buckley; stepson, Bailey Gimbel; nine grandchildren; and a great-grandson. |
| 18 | He served the United States Army as a radar technician in the Far East during World War II. |
| 19 | Son of Baruch Lumet and Eugenia Wermus, both actors in the Yiddish Theatre. The family moved to New York City when he was a baby where they joined the Yiddish Art Theatre. |
| 20 | Served in the Army during WWII. |
| 21 | Given a lifetime achievement award by the Savannah College of Art and Design at the 2005 Savannah Film Festival. The same award was later found hidden in a patch of shrubbery at a three-point intersection in Brooklyn. |
| 22 | Wanted to direct Death Wish (1974) with Jack Lemmon in the leading role. |
| 23 | Roger Ebert says of Lumet's book Making Movies that it "has more common sense in it about how movies are actually made than any other I have read.". |
| 24 | Ex-father-in-law of Bobby Cannavale and P.J. O'Rourke. |
| 25 | After the terrorist attacks on the World Trade Center on September 11th, 2001 he caused some controversy by continuing to shoot his New York based series 100 Centre Street (2001) for the remainder of the day. Lumet said he told the crew that they could leave if they wanted but that no one did. |
| 26 | Three of his films are listed on the American Film Institute's 100 Most Inspiring Movies of All Time. They are: Serpico (1973) at #84, The Verdict (1982) at #75, and 12 Angry Men (1957) at #42. |
| 27 | Interviewed in Peter Bogdanovich's "Who the Devil Made It: Conversations With Robert Aldrich, George Cukor, Allan Dwan, Howard Hawks, Alfred Hitchcock, Chuck Jones, Fritz Lang, Joseph H. Lewis, Sidney Lumet, Leo McCarey, Otto Preminger, Don Siegel, Josef von Sternberg, Frank Tashlin, Edgar G. Ulmer, Raoul Walsh." NY: Alfred A. Knopf, 1997. |
| 28 | Was the original director of Funny Girl (1968), but left the picture over differences with producer Ray Stark and star Barbra Streisand. He was replaced by William Wyler. |
| 29 | Member of the jury at the Cannes Film Festival in 1982. |
| 30 | It was Lumet's idea to make the characters Cuban and to include the 1980 Mariel harbor boat lift in the story in Scarface (1983). |
| 31 | Directed 17 different actors in Oscar-nominated performances: Katharine Hepburn, Rod Steiger, Al Pacino, Ingrid Bergman, Albert Finney, Chris Sarandon, Faye Dunaway, Peter Finch, Beatrice Straight, William Holden, Ned Beatty, Peter Firth, Richard Burton, Paul Newman, James Mason, Jane Fonda and River Phoenix. Bergman, Dunaway, Finch and Straight won oscars for their performances in one of Lumets movies. |
| 32 | Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985." Pages 610-617. New York: The H.W. Wilson Company, 1988. |
| 33 | Was voted the 42nd Greatest Director of all time by Entertainment Weekly. |
| 34 | Lumet is often a favorite director for actors, encouraging the creative collaboration of his stars. |
| 35 | Former son-in-law of Lena Horne; was married to her daughter, the journalist and author Gail Lumet Buckley (nee Gail Jones). |
| 36 | One of the original Sidney Kingsley's "Dead End" kids, on Broadway. The play was later adapted as Dead End (1937) by William Wyler. |
| 37 | Studied acting with Sanford Meisner. |
| 38 | Children: sound editor Amy Lumet and actress Jenny Lumet. |
Director
| Title | Year | Status | Character |
|---|---|---|---|
| Before the Devil Knows You're Dead | 2007 | ||
| Find Me Guilty | 2006 | ||
| Rachel, quand du seigneur | 2004 | Short | |
| Strip Search | 2004 | TV Movie | |
| 100 Centre Street | 2001-2002 | TV Series 10 episodes | |
| Gloria | 1999 | ||
| Critical Care | 1997 | ||
| Night Falls on Manhattan | 1996 | ||
| Guilty as Sin | 1993 | ||
| A Stranger Among Us | 1992 | ||
| Q & A | 1990 | as Alan Smithee: television prints | |
| Family Business | 1989 | ||
| Running on Empty | 1988 | ||
| The Morning After | 1986 | ||
| Power | 1986 | ||
| Garbo Talks | 1984 | ||
| Daniel | 1983 | ||
| The Verdict | 1982 | ||
| Deathtrap | 1982 | ||
| Prince of the City | 1981 | ||
| Just Tell Me What You Want | 1980 | ||
| The Wiz | 1978 | ||
| Equus | 1977 | ||
| Network | 1976 | ||
| Dog Day Afternoon | 1975 | ||
| Murder on the Orient Express | 1974 | ||
| Lovin' Molly | 1974 | ||
| Serpico | 1973 | ||
| The Offence | 1973 | ||
| Child's Play | 1972 | ||
| The Anderson Tapes | 1971 | ||
| King: A Filmed Record... Montgomery to Memphis | 1970 | Documentary uncredited | |
| Last of the Mobile Hot Shots | 1970 | ||
| The Appointment | 1969 | ||
| The Sea Gull | 1968 | ||
| Bye Bye Braverman | 1968 | ||
| The Deadly Affair | 1967 | ||
| The Group | 1966 | ||
| The Hill | 1965 | ||
| Fail-Safe | 1964 | ||
| The Pawnbroker | 1964 | ||
| Long Day's Journey Into Night | 1962 | ||
| Vu du pont | 1962 | ||
| Play of the Week | 1960 | TV Series 4 episodes | |
| Rashomon | 1960 | TV Movie | |
| The Iceman Cometh | 1960 | TV Movie | |
| John Brown's Raid | 1960 | TV Movie | |
| Sunday Showcase | 1960 | TV Series 2 episodes | |
| The Fugitive Kind | 1960 | ||
| Playhouse 90 | 1960 | TV Series 2 episodes | |
| That Kind of Woman | 1959 | ||
| The DuPont Show of the Month | 1957-1958 | TV Series 2 episodes | |
| Kraft Theatre | 1958 | TV Series 5 episodes | |
| All the King's Men | 1958 | TV Movie | |
| Stage Struck | 1958 | ||
| Hans Brinker and the Silver Skates | 1958 | TV Movie | |
| Omnibus | 1957 | TV Series 1 episode | |
| The Seven Lively Arts | 1957 | TV Series 1 episode | |
| Studio One in Hollywood | 1957 | TV Series 1 episode | |
| Mr. Broadway | 1957 | TV Movie | |
| Producers' Showcase | 1957 | TV Series 1 episode | |
| 12 Angry Men | 1957 | ||
| Goodyear Playhouse | 1956 | TV Series 2 episodes | |
| The Alcoa Hour | 1956 | TV Series 5 episodes | |
| The United States Steel Hour | 1955 | TV Series 2 episodes | |
| Frontier | 1955 | TV Series 1 episode | |
| The Elgin Hour | 1955 | TV Series 2 episodes | |
| The Best of Broadway | 1954-1955 | TV Series 3 episodes | |
| You Are There | 1953-1955 | TV Series 12 episodes | |
| The Challenge | 1955 | TV Movie | |
| Danger | 1951-1953 | TV Series 9 episodes | |
| Crime Photographer | 1951-1952 | TV Series 2 episodes | |
| CBS Television Workshop | 1952 | TV Series 1 episode |
Producer
| Title | Year | Status | Character |
|---|---|---|---|
| 100 Centre Street | 2001-2002 | TV Series executive producer - 32 episodes | |
| Critical Care | 1997 | producer | |
| Daniel | 1983 | executive producer | |
| Just Tell Me What You Want | 1980 | producer | |
| Last of the Mobile Hot Shots | 1970 | producer | |
| The Sea Gull | 1968 | producer | |
| Bye Bye Braverman | 1968 | producer | |
| The Deadly Affair | 1967 | producer | |
| Mr. Broadway | 1957 | TV Movie producer |
Writer
| Title | Year | Status | Character |
|---|---|---|---|
| Find Me Guilty | 2006 | written by | |
| 100 Centre Street | TV Series 1 episode, 2001 writer - 7 episodes, 2001 | ||
| Night Falls on Manhattan | 1996 | screenplay | |
| Q & A | 1990 | screenplay | |
| Prince of the City | 1981 | screenplay |
Actor
| Title | Year | Status | Character |
|---|---|---|---|
| The Manchurian Candidate | 2004 | Political Pundit | |
| Danger | 1952 | TV Series | |
| ...One Third of a Nation... | 1939 | Joey Rogers |
Casting Director
| Title | Year | Status | Character |
|---|---|---|---|
| Beyond the Time Barrier | 1960 | uncredited |
Miscellaneous
| Title | Year | Status | Character |
|---|---|---|---|
| In Her Skin | 2009 | consultant |
Thanks
| Title | Year | Status | Character |
|---|---|---|---|
| Nosferatu vs. Father Pipecock & Sister Funk | 2014 | special thanks | |
| Edición Especial Coleccionista | 2013 | TV Series in memory of - 1 episode | |
| Rachel Getting Married | 2008 | thank you | |
| Beyond a Reasonable Doubt: Making '12 Angry Men' | 2008 | Video documentary short special thanks | |
| Prince of the City: The Real Story | 2007 | Video documentary short special thanks | |
| 'Dog Day Afternoon': After the Filming | 2006 | Video short very special thanks | |
| Messengers | 2004 | thank you | |
| Cecil B. DeMille: American Epic | 2004 | TV Movie documentary thanks | |
| The Station Agent | 2003 | special thanks | |
| 'Serpico': Favorite Moments | 2002 | Video documentary short special thanks | |
| 'Serpico': From Real to Reel | 2002 | Video documentary short special thanks | |
| Inside 'Serpico' | 2002 | Video documentary short special thanks | |
| King: A Filmed Record... Montgomery to Memphis | 1970 | Documentary particular thanks for contributing their talents |
Self
| Title | Year | Status | Character |
|---|---|---|---|
| The Tramp and the Dictator | 2002 | Documentary | Himself (uncredited) |
| Le 100 Centre Street De Sidney Lumet | 2002 | TV Movie documentary | Himself |
| AFI's 100 Years... 100 Thrills: America's Most Heart-Pounding Movies | 2001 | TV Special documentary | Himself |
| Revisiting 'Fail-Safe' | 2000 | Video documentary short | Himself |
| Inside: 'Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb' | 2000 | Video documentary | Himself - Director, 'Fail Safe' |
| Biography | 1999 | TV Series documentary | Himself |
| The Directors | 1999 | TV Series documentary | Himself |
| NY TV: By the People Who Made It - Part I & II | 1998 | TV Movie documentary | Himself |
| AFI's 100 Years... 100 Movies: America's Greatest Movies | 1998 | TV Special documentary | Himself |
| Sean Connery Close Up | 1997 | Video documentary | Himself |
| Inside the Actors Studio | 1994 | TV Series | Himself - Guest |
| The 45th Annual Directors Guild Awards | 1993 | TV Special | Himself - Winner: Lifetime Achievement Award |
| Fonda on Fonda | 1992 | TV Movie documentary | Himself |
| Listen Up: The Lives of Quincy Jones | 1990 | Documentary | Himself |
| Night of 100 Stars III | 1990 | TV Movie | Himself |
| Funny | 1988 | Documentary | Himself |
| Sidney Lumet: I Love New York | 1987 | TV Movie documentary | Himself |
| The Dick Cavett Show | 1986 | TV Series | Himself |
| The Annual ACLU Tribute: A Salute to Sidney Lumet | 1985 | TV Movie | Himself - Honoree |
| The 55th Annual Academy Awards | 1983 | TV Special | Himself - Nominee: Best Director |
| The British Greats | 1980 | TV Series | Himself |
| Wiz on Down the Road | 1978 | Short | Himself - Director |
| The 49th Annual Academy Awards | 1977 | TV Special | Himself - Nominee: Best Director |
| Arena | 1977 | TV Series documentary | Himself |
| The 48th Annual Academy Awards | 1976 | TV Special | Himself - Nominee: Best Director |
| Lumet: Film Maker | 1975 | Documentary short | Himself |
| Film '72 | 1974 | TV Series | Himself |
| The Dick Cavett Show | 1968 | TV Series | Himself - Guest |
| Cinema | 1967 | TV Series documentary | Himself |
| The Sun... the Sand... the Hill. | 1965 | Documentary short | Himself |
| The 400 Million | 1939 | Documentary | Additional Voice (voice, as Sydney Lumet) |
| By Sidney Lumet | 2015 | Documentary | Himself |
| Lumet on Lumet | 2011 | Video documentary short | Himself |
| Moguls & Movie Stars: A History of Hollywood | 2010 | TV Mini-Series documentary | Himself - Director |
| I Knew It Was You: Rediscovering John Cazale | 2009 | Documentary short | Himself |
| AFI's 10 Top 10: America's 10 Greatest Films in 10 Classic Genres | 2008 | TV Movie | Himself |
| Beyond a Reasonable Doubt: Making '12 Angry Men' | 2008 | Video documentary short | Himself - Director |
| Directed by Sidney Lumet: How the Devil Was Made | 2008 | Video documentary short | Himself |
| The 17th Annual Gotham Awards | 2007 | TV Special | Himself |
| Charlie Rose | 1995-2007 | TV Series | Himself - Guest |
| AFI Life Achievement Award: A Tribute to Al Pacino | 2007 | TV Movie | Himself |
| The Verdict: Sidney Lumet, The Craft of Directing | 2007 | Video documentary short | Himself |
| Prince of the City: The Real Story | 2007 | Video documentary short | Himself |
| Milestones in Cinema History: The Verdict | 2007 | Video documentary short | Himself |
| Paul Newman: The Craft of Acting | 2007 | Video documentary short | Himself |
| AFI's 100 Years... 100 Cheers: America's Most Inspiring Movies | 2006 | TV Movie documentary | Himself |
| American Experience | 2006 | TV Series documentary | Himself |
| 'Dog Day Afternoon': After the Filming | 2006 | Video short | Himself |
| 'Dog Day Afternoon': Casting the Controversy | 2006 | Video short | Himself |
| 'Dog Day Afternoon': Recreating the Facts | 2006 | Video short | Himself |
| 'Network': Mad as Hell - The Creation of a Movie Moment | 2006 | Video short | Himself |
| 'Network': The Cast, the Characters | 2006 | Video short | Himself |
| 'Network': The Experience | 2006 | Video short | Himself |
| 'Network': The Style | 2006 | Video short | Himself |
| 'Network': The World and Words of Paddy Chayefsky | 2006 | Video short | Himself |
| Private Screenings | 2005 | TV Series | Himself |
| The 77th Annual Academy Awards | 2005 | TV Special | Himself - Honorary Award Recipient |
| Making 'Murder on the Orient Express' | 2004 | Video documentary | Himself |
| Based on a True Story | 2004 | Documentary | Himself |
| Imaginary Witness: Hollywood and the Holocaust | 2004 | Documentary | Himself |
| Finding Eleazar | 2004 | Documentary | Himself |
| AFI's 100 Years... 100 Heroes & Villains | 2003 | TV Special documentary | Himself |
| Spike Lee's '25th Hour': The Evolution of an American Filmmaker | 2003 | Video documentary short | Himself (as Sydney Lumet) |
| American Masters | 2003 | TV Series documentary | Himself |
| A Decade Under the Influence | 2003 | Documentary | Himself |
| 'Serpico': Favorite Moments | 2002 | Video documentary short | Himself |
| 'Serpico': From Real to Reel | 2002 | Video documentary short | Himself |
| Inside 'Serpico' | 2002 | Video documentary short | Himself |
| Sean Connery, an Intimate Portrait | 2002 | Documentary | Himself |
| New York at the Movies | 2002 | TV Movie documentary | Himself |
Archive Footage
| Title | Year | Status | Character |
|---|---|---|---|
| John G. Avildsen: King of the Underdogs | 2017 | Documentary filming | |
| Michael Jackson's Journey from Motown to Off the Wall | 2016 | Documentary | Himself |
| Edición Especial Coleccionista | 2013 | TV Series | Himself |
| The 84th Annual Academy Awards | 2012 | TV Special | Himself - Memorial Tribute |
| The Orange British Academy Film Awards | 2012 | TV Special | Himself - Memorial Tribute |
| Cinema 3 | 2011 | TV Series | Himself |
| Días de cine | 2011 | TV Series | Himself |
| Cinema mil | 2005 | TV Series | Himself |
| Cronkite Remembers | 1997 | TV Mini-Series documentary | Himself (uncredited) |
Won Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2013 | OFTA Film Hall of Fame | Online Film & Television Association | Creative | |
| 2009 | Fotogramas de Plata | Fotogramas de Plata | Best Foreign Film (Mejor Película Extranjera) | Before the Devil Knows You're Dead (2007) |
| 2009 | Gold Derby Award | Gold Derby Awards | Life Achievement (Other) | |
| 2009 | Kinema Junpo Award | Kinema Junpo Awards | Best Foreign Film Director | Before the Devil Knows You're Dead (2007) |
| 2009 | Sant Jordi | Sant Jordi Awards | Best Foreign Film (Mejor Película Extranjera) | Before the Devil Knows You're Dead (2007) |
| 2009 | Audience Award | Turia Awards | Best Foreign Film | Before the Devil Knows You're Dead (2007) |
| 2008 | Silver Ribbon | Italian National Syndicate of Film Journalists | Best Non-European Director (Regista del Miglior Film Non-Europeo) | Before the Devil Knows You're Dead (2007) |
| 2007 | Career Achievement Award | Los Angeles Film Critics Association Awards | ||
| 2007 | Lifetime Achievement Award | New York Film Critics Circle Awards | ||
| 2005 | Honorary Award | Academy Awards, USA | ||
| 2004 | Joseph L. Mankiewicz Excellence in Filmmaking Award | Director's View Film Festival | ||
| 2001 | New Technology Award | PGA Awards | ||
| 1998 | Lifetime Achievement Award | Gotham Awards | ||
| 1997 | Evelyn F. Burkey Award | Writers Guild of America, USA | ||
| 1996 | Billy Wilder Award | National Board of Review, USA | ||
| 1993 | Lifetime Achievement Award | Directors Guild of America, USA | ||
| 1989 | DGA Honorary Life Member Award | Directors Guild of America, USA | ||
| 1982 | NBR Award | National Board of Review, USA | Best Director | The Verdict (1982) |
| 1981 | KCFCC Award | Kansas City Film Critics Circle Awards | Best Director | Prince of the City (1981) |
| 1981 | NYFCC Award | New York Film Critics Circle Awards | Best Director | Prince of the City (1981) |
| 1981 | Pasinetti Award | Venice Film Festival | Best Film | Prince of the City (1981) |
| 1977 | Golden Globe | Golden Globes, USA | Best Director - Motion Picture | Network (1976) |
| 1976 | Evening Standard British Film Award | Evening Standard British Film Awards | Best Film | Murder on the Orient Express (1974) |
| 1976 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Director | Dog Day Afternoon (1975) |
| 1976 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Director | Network (1976) |
| 1966 | Bodil | Bodil Awards | Best Non-European Film (Bedste ikke-europæiske film) | The Pawnbroker (1964) |
| 1964 | FIPRESCI Prize - Honorable Mention | Berlin International Film Festival | The Pawnbroker (1964) | |
| 1960 | Blue Ribbon Award | Blue Ribbon Awards | Best Foreign Language Film | 12 Angry Men (1957) |
| 1960 | Bodil | Bodil Awards | Best American Film (Bedste amerikanske film) | 12 Angry Men (1957) |
| 1960 | Kinema Junpo Award | Kinema Junpo Awards | Best Foreign Language Film | 12 Angry Men (1957) |
| 1960 | Silver Seashell | San Sebastián International Film Festival | The Fugitive Kind (1960) | |
| 1958 | Silver Ribbon | Italian National Syndicate of Film Journalists | Best Foreign Film (Miglior Film Straniero) | 12 Angry Men (1957) |
| 1957 | Golden Berlin Bear | Berlin International Film Festival | 12 Angry Men (1957) | |
| 1957 | OCIC Award | Berlin International Film Festival | 12 Angry Men (1957) | |
| 1957 | Special Mention | Locarno International Film Festival | 12 Angry Men (1957) |
Nominated Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2008 | Critics Choice Award | Broadcast Film Critics Association Awards | Best Director | Before the Devil Knows You're Dead (2007) |
| 2008 | HFCS Award | Houston Film Critics Society Awards | Best Director | Before the Devil Knows You're Dead (2007) |
| 2007 | Gold Derby Award | Gold Derby Awards | Life Achievement (Other) | |
| 2007 | Satellite Award | Satellite Awards | Best Director | Before the Devil Knows You're Dead (2007) |
| 2006 | Golden Berlin Bear | Berlin International Film Festival | Find Me Guilty (2006) | |
| 1993 | International Fantasy Film Award | Fantasporto | Best Film | A Stranger Among Us (1992) |
| 1992 | Palme d'Or | Cannes Film Festival | A Stranger Among Us (1992) | |
| 1989 | Golden Globe | Golden Globes, USA | Best Director - Motion Picture | Running on Empty (1988) |
| 1983 | Oscar | Academy Awards, USA | Best Director | The Verdict (1982) |
| 1983 | Golden Globe | Golden Globes, USA | Best Director - Motion Picture | The Verdict (1982) |
| 1983 | Best Film | Mystfest | Deathtrap (1982) | |
| 1982 | Oscar | Academy Awards, USA | Best Writing, Screenplay Based on Material from Another Medium | Prince of the City (1981) |
| 1982 | Golden Globe | Golden Globes, USA | Best Director - Motion Picture | Prince of the City (1981) |
| 1982 | Edgar | Edgar Allan Poe Awards | Best Motion Picture | Prince of the City (1981) |
| 1982 | WGA Award (Screen) | Writers Guild of America, USA | Best Drama Adapted from Another Medium | Prince of the City (1981) |
| 1981 | Golden Lion | Venice Film Festival | Prince of the City (1981) | |
| 1978 | BAFTA Film Award | BAFTA Awards | Best Direction | Network (1976) |
| 1977 | Oscar | Academy Awards, USA | Best Director | Network (1976) |
| 1977 | DGA Award | Directors Guild of America, USA | Outstanding Directorial Achievement in Motion Pictures | Network (1976) |
| 1976 | Oscar | Academy Awards, USA | Best Director | Dog Day Afternoon (1975) |
| 1976 | Golden Globe | Golden Globes, USA | Best Director - Motion Picture | Dog Day Afternoon (1975) |
| 1976 | BAFTA Film Award | BAFTA Awards | Best Direction | Dog Day Afternoon (1975) |
| 1976 | DGA Award | Directors Guild of America, USA | Outstanding Directorial Achievement in Motion Pictures | Dog Day Afternoon (1975) |
| 1975 | BAFTA Film Award | BAFTA Awards | Best Direction | Murder on the Orient Express (1974) |
| 1975 | DGA Award | Directors Guild of America, USA | Outstanding Directorial Achievement in Motion Pictures | Murder on the Orient Express (1974) |
| 1974 | DGA Award | Directors Guild of America, USA | Outstanding Directorial Achievement in Motion Pictures | Serpico (1973) |
| 1969 | Palme d'Or | Cannes Film Festival | The Appointment (1969) | |
| 1968 | BAFTA Film Award | BAFTA Awards | Best British Film | The Deadly Affair (1967) |
| 1967 | UN Award | BAFTA Awards | The Pawnbroker (1964) | |
| 1966 | BAFTA Film Award | BAFTA Awards | Best British Film | The Hill (1965) |
| 1966 | BAFTA Film Award | BAFTA Awards | Best Film from any Source | The Hill (1965) |
| 1966 | UN Award | BAFTA Awards | Fail-Safe (1964) | |
| 1966 | Golden Berlin Bear | Berlin International Film Festival | The Group (1966) | |
| 1966 | DGA Award | Directors Guild of America, USA | Outstanding Directorial Achievement in Motion Pictures | The Pawnbroker (1964) |
| 1966 | Golden Laurel | Laurel Awards | Director | 8th place. |
| 1965 | Palme d'Or | Cannes Film Festival | The Hill (1965) | |
| 1964 | Golden Berlin Bear | Berlin International Film Festival | The Pawnbroker (1964) | |
| 1963 | DGA Award | Directors Guild of America, USA | Outstanding Directorial Achievement in Motion Pictures | Long Day's Journey Into Night (1962) |
| 1962 | Palme d'Or | Cannes Film Festival | Long Day's Journey Into Night (1962) | |
| 1961 | Primetime Emmy | Primetime Emmy Awards | Outstanding Directorial Achievement in Drama | Sunday Showcase (1959) |
| 1959 | Golden Berlin Bear | Berlin International Film Festival | That Kind of Woman (1959) | |
| 1958 | Oscar | Academy Awards, USA | Best Director | 12 Angry Men (1957) |
| 1958 | Golden Globe | Golden Globes, USA | Best Director | 12 Angry Men (1957) |
| 1958 | DGA Award | Directors Guild of America, USA | Outstanding Directorial Achievement in Motion Pictures | 12 Angry Men (1957) |
2nd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 1982 | NSFC Award | National Society of Film Critics Awards, USA | Best Director | Prince of the City (1981) |
| 1981 | NYFCC Award | New York Film Critics Circle Awards | Best Screenplay | Prince of the City (1981) |
| 1957 | NYFCC Award | New York Film Critics Circle Awards | Best Director | 12 Angry Men (1957) |
3rd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 1982 | NSFC Award | National Society of Film Critics Awards, USA | Best Screenplay | Prince of the City (1981) |
Known for movies
12 Angry Men (1957)
as Director
Dog Day Afternoon (1975)
as Director
Network (1976)
as Director
Before the Devil Knows You're Dead (2007)
as Director