Today, all-round filmmaker Josef von Sternberg (1894-1969) is best remembered as the man behind UFA’s first talking picture, “Der Blaue Engel” (1930, a.k.a. “The Blue Angel”), which launched the career of Marlene Dietrich. She played Lola-Lola, the seductive cabaret singer in top hat and silk stockings, who destroyed the life of an infatuated elderly professor, character played by Emil Jannings. The film was simultaneously shot in Berlin in German and English versions.

By that time, however, Mr. von Sternberg, who left his native Vienna at age seven, arrived in the U.S. in 1901, and had settled in Hollywood by 1924. He was already an established film director in America ever since he had made “The Salvation Hunters” (1925), the first time he demonstrated his own, groundbreaking and unique visual style and interplay of light and shade. The film was followed by another screen classic, “Underworld” (1926), Hollywood’s first gangster film.

Unfortunately, some projects didn’t work out for various reasons—one of them being “The Sea Gull” (1926, a.k.a. “A Woman of the Sea”) which Charlie Chaplin asked him to direct as a comeback vehicle for Edna Purviance (Chaplin’s co-star in all his shorts and features from “A Night Out” in 1915 to “A Woman of Paris” eight years later). Mr. von Sternberg’s screenplay was a love story set in a fishing community on the California coast. After one private screening, Chaplin withdrew the film, shelved it, and it hasn’t been seen since, reportedly because he considered the film too sophisticated for general audiences.

Yet, for Mr. von Sternberg, the best was yet to come. During his peak years and most productive period of his career—at Paramount—from “Underworld” (1927) to “The Devil Is a Woman” (1935, the seventh and final film he made with Dietrich, whom he had transformed into a glamourous and sensual star), he became one of Hollywood’s greatest directors, storytellers, masters and technicians with screen classics as “The Case of Lena Smith” (1929, his final silent film), “Morocco” (1930), “Shanghai Express” (1932), “Blonde Venus” (1932) and “The Scarlet Empress” (1934). He published his autobiography “Fun in a Chinese Laundry” in 1965.

He is the father of Nicholas Josef von Sternberg (b. 1951), who has worked as a cinematographer from the mid-1970s to 2002 and whose films include “Texasville” (1990), directed by Peter Bogdanovich, and “Crime and Punishment” (2002) starring Vanessa Redgrave and John Hurt. I got to meet this kind and soft-spoken gentleman at his California home on a bright and sunny afternoon to talk about the work of the Sternberg family behind the camera, and as it turned out, our timing was even more perfect since I got to see with my very own eyes his incredible family archive which basically covers an entire century of filmmaking—give or take a few years.

It would be most inappropriate to refer to it purely as memorabilia: it’s his complete family history and film history of the past century at the same time. That’s what wat makes it so unique; there were no copies or anything, it was all original material—for anyone who grew up watching and admiring Mr. von Sternberg’s films, this was the stuff that dreams are made of. And I’m aware that I had only seen the tip of the iceberg.

Mr. Josef von Sternberg collected everything and he archived his own life, which his son had nicely stored in huge plastic boxes: there were numerous photographs from when he was a boy, also from the silent era, and a lot of them with him on the set of his films in the 1920s and 1930s; before he became a director in the mid-1920s, he traveled in Europe and there were his passports; his paintings, including a self-portrait—painting was a passion of his—and telegrams; contracts; letters; his address book; five press books that were professionaly put together for him with all news articles in American newspapers; audio recordings; cancelled checks from the banks; records of what he spent through the years; original silent film scripts, one of them written in Vienna in the Spring of 1922 and registered in 1923 for American copyright, another one bought by Mary Pickford in 1925; early scripts that weren’t produced; publicity stills; a huge amount of photo albums covering his whole life while every page of every album tells an incredible story on its own through hundreds (possibly thousands?) of stills that have never been published anywhere—and so much more, including material what we usually tend to discribe as ‘memorabilia.’

As I had said, the timing of our interview was perfect for me, as Mr. von Sternberg was about to donate his archive to the Academy Film Archive a couple of weeks later. I had the privilege to see some of it, and all I can say is that there are simply no words to express my gratitude to Mr. von Sternberg for sharing this precious history with me.

During our meeting, we also took the time to talk about the careers of father and son.

Mr. von Sternberg, do you also have copies of your father’s films?

I have a lot of his films, I have a couple of prints of “Anatahan” [1953], negatives and some soundtrack, and some 16mm films like “The Devil Is a Woman” [1935]. I also have “The Epic That Never Was” [1965], a really interesting BBC documentary of “I, Claudius” [unfinished film from 1937] narrated by Dirk Bogarde. They had interviewed a lot of people that were still alive—my father was still alive too, and there is also an interview with him. For “I, Claudius,” he went to London, and he worked on it, it was really an important project for him. It was the first film that he had been involved with after “The Devil Is a Woman” [1935] with a substantial amount of money, big stars, a wonderful set designer, a great cameraman. He had a really good crew on the film. [Producer] Alexander Korda had made a joke about Charles Laughton at a cocktail party, Laughton was very offended, and he decided to take his revenge by pretending to not know his lines on “I, Claudius,” and he sabotaged the film. But that doesn’t come out in the documentary; the only thing that does come out is that Merle Oberon had an accident, and they wrote off the film based on her. She played Messalina in the film, and so Korda canceled the project after four weeks of shooting. But there was a lot more film that existed at the time when the documentary was made. I don’t know where it is now, but I do know there was a lot more than what was seen in the documentary. My father also edited the film; he used to edit the previous week’s footage on weekends.

Was that his working method? Editing his films during the weekends?

Well, it was on that film; I don’t know about his other films. But he always knew what shots he was going to use, no matter how many takes he’d do. He didn’t shoot really from a lot of angles, only from a few angles, much less than most people commonly shoot from now. Since he knew what he was going to use, he could easily edit it on weekends or whenever he had the chance to. He was a good editor; he was an editor before he was a director. He had edited about a hundred one-reelers during the silent period. Of course, in those days, they edited with the negative; they didn’t print the positive, they just edited with the negative. He was a title writer too; he wrote titles for silent flms long before he was a director.

He was known to be an excellent craftsman and technician—he could have made a film entirely on his own.

[Laughs]. I’m sure he would have loved to, but he always loved to work with his crew.

Do you know if there were any particular crew members who were really important to him? The cinematographer maybe, because of his particular visual style?

I don’t think so. You know, if you talk to different people, you hear different opinions. My dad claimed that he pretty much dominated the cinematography, and if you look at his films, he used really wonderful cameramen, like Lee Garmes, and Paul Ivano. But the look of his films is very consistent; it’s as if they were all shot by one cameraman. Normally if you use different cameramen, you get different results. But his films were very consistent—from film to film. So I can really relate to what he said that he dominated the cinematography completely. He probably told his cameramen what to do—set the angle, set the lighting. I know on one film he kicked the cameraman of the set, and he lit the set alone with the best boy. Maybe he was difficult to work with, I don’t know, but it could be that it was the only way to get the results that he wanted. Maybe he couldn’t communicate them clearly any other way than to do it himself.

Your father was a perfectionist, wasn’t he, because his films are so perfectly made.

Yes, I think so. You can tell by his films.

Did he in any way influence you and your work as a cinematographer?

He influenced me to a degree. I was raised on his films. I was on the set with him on “Anatahan” [1953] when I was two years old; I have a picture of him holding me up on the set. It’s hard to convey how much of an influence he had on me. The films I saw as a child were mostly his, although sometimes I saw other films too. But they had a really profound effect on me, although it’s hard to say what the effect was. I never directed films, I was only a cinematographer, so in working with other people I worked with the director, the set designers, the writers and the actors. But I didn’t have a chance to really direct a film. And it is different when you direct a film than it is to be a director of photography.

How did you work on your projects?

It depended on each film. I always read the script, thinking about the lighting and the angles that I could shoot from. The script was just a very basic document, and in my early films, I did a lot of work on the script too, much more than in my later films. A lot of the films I did were on location, so that’s different than working in a studio. I always loved to work in a studio and liked to build a set around the lighting which is exactly what my dad did. So to that degree, he influenced me, and I can just pick out different shots from films that I did and that were reminiscent of my father. But he did a lot of things that I couldn’t do. He used to light through nets—through netted material. I think he used to stretch a large net over the set, light through it, and he‘d burn out sections of the net. In a lot of his films, it looks like the lighting was done that way. He had the actors perform where the light was particularly just for them, and around them, everything would be darker to a degree. Since he worked in black and white, there’s a tremendous amount of control you have over the lighting. He used to spray aluminum to create a certain effect so one area would be brighter, and he also created a deeper shadow. There were a lot of tricks that he did. No one has ever recreated the look of his films, and I think it would be very difficult. Also, if you want to recreate it, you’d have to shoot in black and white because there is an infinity of brightness and darkness you can create with black and white that you can’t create with color. And your attention is also more drawn to the light in black and white, much more than in color. But nevertheless, it’s very interesting to work in color too. My father did one film in color, “Jet Pilot” [1957], but it’s relatively flat-looking compared to the beautiful work that he did in black and white. In silent films, he did a lot of interesting work in black and white, too—long before he worked with Dietrich.

Does his work in silent films still exist?

Some films are lost, films that people looked for all over the world, but I’m sure that none will turn up at this point, because it’s been so long. In 1947 Curtis Harrington saw my dad’s last silent film, “The Case of Lena Smith” [1929], in the Paramount vault, but it doesn’t exist now. It would have been lost by now. Paramount rendered the film [laughs], that’s how they called it, to recover the silver from the film. They had a lot of films, and that means a lot of silver—that’s the problem with silver nitrate. And they didn’t think that the films would be seen again.

What film do you consider his best work?

I love “Anatahan” personally, because it was made after I was born, and I know how he worked on that film. He had created a chart [photograph at the top of this interview], a vertical chart with the actors on the top, the sequences on the side, and the legend indicates the basic emotions that the actors had to show. That’s one of the ways he conveyed to the actors what they had to feel. It’s a very complex chart, with all the props—it’s really unique [it hangs on the wall in the living room]. I’ve never seen this kind of work done in any other film. I still have everything on “Anatahan” here—the storyboards, the scripts, everything. Three scripts were used simultaneously when he made that film. I’m really proud of the work he did on “Anatahan,” and so was he. He narrated the film himself, and it has a special meaning to me to hear his voice.

“Anatahan” (1953, trailer)

Up until that time, did he always have carte blanche, or was there someone looking over his shoulder?

I think he pretty much had carte blanche. When he did “The Salvation Hunters” [1925], I’m sure he had carte blanche because he did it independently, so he didn’t have any producers on that film. And when he did “Anatahan,” he had Japanese producers, and I don’t think they ever questioned what he was going to do. Also, when he worked at Paramount for people like Adolph Zukor and B.P. Schulberg, it was exactly the same. It goes back to 1927 when he did “Underworld,” and they had given him ten thousand dollars and a gold medal because the film was so successful. It made a lot of money for Paramount, and I heard that it saved the studio, but I don’t know if that is true. In the beginning, Paramount thought that the public would react negatively to the film because it was a gangster movie. It was released in New York without any advance publicity, and people ran out of the theater when it was shown to tell their friends about it, and by the end of the first showing, there was a line around the block. It became the first film to keep a movie theater open all night. After that, he was really pretty popular at Paramount—popular in the sense that he could do what he wanted to do. I don’t think they would have interfered with what he wanted to do. There’s no evidence that they did.

What was his relationship with Paramount like, working with Adolph Zukor, B.P. Schulberg and Jesse L. Lasky?

He didn’t really think about them or about working with them. They only had to approve everything that he did, and I think they did.

William Wellman Jr. once said to me that his father loved working at the studios because he didn’t have to worry about the sets, they were built by the best set designers, and when he had to begin shooting on Monday morning, the sets would always be ready.

William A. Wellman’s sets were very different from my father’s sets, but he had the same art director on all his films—Hans Dreier. He had so many people that ran the art department that worked with him, and his sets were so elaborate, like in “Shanghai Express” [1932]. When the train comes through the station… do you remember that scene? It’s so incredible.

On the other hand, he was also very much at ease on a more intimate film like “Blonde Venus” [1932].

Yes, but that film I would consider pretty wild with the gorilla suit that Marlene Dietrich comes out of in the beginning [laughs]. “Blonde Venus” had wonderful sets, too—the doors were built very strangely; they had shutters on them that had different angles. You never see any kind of a set similar to that. It was all built just for him, the sets were so impressive, it’s just impossible to imagine anybody else working that way, and “Blonde Venus” is a perfect example of that: if you think about the sets, they look simple, but they’re really pretty elaborate.

Do you know how he did his homework in the evening or during the weekends to prepare the scenes he had to shoot the next day? I suppose long days, long hours?

His nickname at Paramount was ‘Midnight Joe’ because he kept the crews working from early morning till midnight. That was his reputation; he liked to work long hours. That’s probably one of the reasons that they unionized in the early 1930s because of directors just like him. He liked to work very long hours, he didn’t like to be questioned, he preferred complete silence when he worked, and he demanded a lot from the crew.

But in the end, you can see the result on the screen.

Definitely. Defintely great results. But he had a reputation of being difficult to work with, and I think that he was difficult to work with. It wasn’t a lot of fun to work with him, but it must have been very rewarding. For “The Devil Is a Woman,” the crew gave him a piece of carved ivory as a thank you, with everybody’s name on it. There’s no doubt that he was a highly respected film director. And he did his films rather fast. “The Scarlet Empress” had a five-week shooting schedule, and he didn’t do too many shots, only like one hundred and fifty or two hundred. That isn’t very much compared to modern films, which have thousands of shots.

And he will also be remembered as the man who discovered Marlene Dietrich and turned her into one of the most popular screen stars ever.

You know, Emil Jannings apparently argued a lot with my father when they made “The Blue Angel.” He didn’t want her to play the part. Nobody wanted her, except my father, and he had to pretend to leave Berlin, otherwise, they wouldn’t let him use Dietrich. He got in his car and drove to the airport, and then they got after him and told him he could have Dietrich. But nobody wanted her, and Jannings tried to sabotage the film. He told her that nobody would ever see the film, that she would be forgotten. But she was wonderful in the film. After “The Blue Angel,” my father sent a telegram to B.P. Schulberg telling him she was a wonderful actress, and he wanted to bring her to the United States to do more work.

“The Blue Angel” (1930, trailer)

How did you enter the film business? How did it all start for you?

When I studied at UCLA, I was seventeen, and I wanted to direct, without really knowing what exactly a director did. I used to shoot everybody’s film, I seemed to have a very good eye [laughs] and I was very mechanical, meaning I was good with cameras and with lighting. So I shot about sixty or seventy films when I was at UCLA, and because of that I became a cameraman. I didn’t try to become a cameraman; it just happened. I shot my first film when I was twenty-one, it was called “Dolemite,” a very well-known black-and-white film, shot in 35mm. It’s got a cult following; people are still watching it. Now it just seems so improbable that I would become a cameraman, but back then, there were really a lot of opportunities for independent cameramen. So when it was just independent filmmaking, I had nothing to do with the union. I didn’t actually get into the union until about ten years later. As a matter of fact, I tried when I first started out shooting films to get into the union and tried to work at Universal as a cameraman, and the head of the camera department at Universal wanted me to work there. But the other two gentlemen that were on the qualifying committee, which the union had at that time didn’t think I was ready to work in the union as a cameraman. So they didn’t hire me. But I eventually got in, and I actually didn’t work in the union till I did “Texasville” [1990] for Peter Bogdanovich.

Did you get out of your career what you hoped for?

No, I didn’t. I had a very strange reason for stopping. I made a film for a Canadian company, and they were pretty good for me when I was in Canada, but when they came back to the United States, they wanted to do one more day of shooting here, and they didn’t pay the crew. There were about thirty of us. I was so offended, and I thought that if I wasn’t going to get paid at that point in my life—I was almost fifty—I decided I wanted to do something else, so I went into teaching, and that’s what I still do. Special education, with children that are learning disabled at high school. It’s something completely different, but my mother [Meri Otis Wilner] was a professor—a lecturer—and my father also really enjoyed teaching. He taught at USC and UCLA for a couple of years, and my cousins are both teachers. I love teaching; it’s a full-time job. I work till three, then it takes me about an hour and a half to get back home. I’m also a pilot. I enjoy flying, I have my own plane, so that takes a lot of time and energy. It would be different if I were retired, then I could look at all of these boxes more carefully.

Have you ever been in touch with Marlene Dietrich’s daughter Maria Riva?

No, I’ve never really been in touch with her, but I was friends with Marlene’s grandson J. Michael Riva who passed away [1948-2012]. I’m friends with another one of the Rivas, J. David Riva, who did the documentary. I’ve also been in touch with Peter Riva recently. Dietrich’s grandsons are very interesting; particularly Michael, he really remembered Marlene well, he knew her well. I knew her a little bit. When my father attended a film retrospective in Locarno [Switzerland] in 1960, Marlene was there too and they were very friendly together—they stayed in touch until he died—and as a little boy, I used to sit on Marlene’s lap. She always used to send me letters—envelopes—from all over the world because I collected stamps as a child. I still have all of those envelopes.

Do you go through the boxes with your father’s material from time to time?

Sometimes I do, but I’m not an archivist. The problem is that I got other interests too. Those boxes are all very interesting to me, but it’s impossible to go through them alone. I’m just not an archivist. And there’s so much—and I have my mother’s stuff too. I have another house in Llano, which is only known for being the home of Aldous Huxley. It’s in the desert, and even though it’s in California, it is in the middle of nowhere—that’s my home, actually, because this one is just temporary—where I also got material, and I brought five boxes back the day before yesterday; they are magazines that my father collected. When my father died in 1969, my mother packed everything up. And she died a few years ago—I took care of her during the last six years of her life. Since then, I’ve looked through these boxes very carefully now and then, but I can’t really do anything with them. I’m too close to them. The Academy Film Archive has wanted them for many years, and I promised that I would turn over the material, but on the other hand, it’s just difficult to let go of. I was eighteen when he died, and I was very close to my parents.

Do you still remember the house where he used to live?

Yes, it was a one-bedroom mansion in Northridge [10000 Tampa Avenue], made of steel, aluminum and glass, built in 1933. From the sky, you could see JS, his initials. The house was torn down by the owner in 1971 or 1972. So it still existed when I was young, and I have been there. Ruth Hill had lived there; she was a well-known writer. There’s a middle school now where his house was.

Los Angeles, California
March 24, 2019

1. FILMS OF JOSEF VON STERNBERG

A GIRL’S FOLLEY (1917) DIR Maurice Tourneur SCR Maurice Tourneur, Frances Marion (story by Maurice Tourneur, Frances Marion) CAM John van den Broek ED Clarence Brown CAST Richard Warwick, Doris Kenyon, June Elvidge, Jane Adair, Chester Barnett, Johnny Hines, Emile Chautard, Leatrice Joy, Maurice Tourneur, Josef von Sternberg (Cameraman)

THE MYSTERY OF THE YELLOW ROOM (1919) DIR – PROD Emile Chautard ASST DIR Josef von Sternberg SCR Emile Chautard (novel by Gaston Leroux) CAM Hugo Riesenfeld ED Jacques Bizeul CAST William Walcott, Edmund Elton, George Cowl, Ethel Grey Terry, Lorin Raker, Jean Del Val, W. H. Burton, Henry S. Koser

THE HIGHEST BIDDER (1921) DIR Wallace Worsley ASST DIR Josef von Sternberg SCR Lloyd Lonergan CAM George Peters CAST Madge Kennedy, Lionel Atwill, Vernon Steele, Ellen Cassidy, Zelda Sears, Joseph Brennan, Reginald Mason

THE BOHEMIAN GIRL (1922) DIR – PROD Harvey Knoles ASST DIR Josef von Sternberg SCR Harvey Knoles, Rosina Henley (opera by Michael William Balfe; libretto by Alfred Bunn; novel by Miguel de Cervantes y Saavedra) CAM René Guissart CAST Gladys Cooper, Ivor Novello, C. Aubrey Smith, Ellen Terry, Constance Collier, Henry Vibart

VANITY FAIR (1923) DIR – PROD Hugo Ballin ASST DIR Josef von Sternberg SCR Hugo Ballin (novel by William Makepeace Thackeray) CAM James Diamond CAST Mabel Ballin, Hobart Bosworth, George Walsh, Harrison Ford, Earle Foxe, Eleanor Boardman, Willard Louis

VANITY’S PRICE (1924) DIR Roy William Neill ASST DIR Josef von Sternberg PROD  SCR Paul Bern (also story) CAM Hal Mohr CAST Anna Q. Nilsson, Stuart Holmes, Wyndham Standing, Arthur Rankin, Lucille Ricksen, Robert Bolder, Cissy Fitzgerald

BY DIVINE RIGHT (1924) DIR Roy William Neill SCR Josef von Sternberg (adaptation by Florence Hein; story ‘The Way Men Love’ by Adam Shirk) CAM Ray June CAST Mildred Harris, Anders Randolf, Elliott Dexter, Sidney Bracey, Jeanne Carpenter, Grace Carlyle, DeWitt Jennings

THE SALVATION HUNTERS (1925) DIR – PROD – SCR – ED Josef von Sternberg CAM Edward Gheller CAST Arthur K. Kennedy, Georgia Hale, Bruce Guerin, Otto Matieson, Nellie Bly Baker, Olaf Hytten, Stuart Holmes

THE MASKED BRIDE (1925) DIR Christy Cabanne [uncredited Josef von Sternberg] SCR Carey Wilson (story by Leon Abrams) CAM Oliver T. Marsh ED Frank E. Hull CAST Mae Murray, Francis X. Bushman, Roy D’Arcy, Basil Rathbone, Pauline Neff, Chester Conklin, Fred Warren

EXQUISITE SINNER (1926) DIR Josef von Sternberg, Phil Rosen SCR Josef von Sternberg, Alice D. G. Miller (novel by Alden Brooks) CAM Max Fabian ED John English CAST Conrad Nagel, Renée Adorée, Paulette Duvall, Frank Currier, George K. Arthur, Matthew Betz, Helena D’Algy, Claire Du Brey, Myrna Loy, Mira Adorée

A WOMAN OF THE SEA (1926) DIR – SCR Josef von Sternberg PROD Charles Chaplin CAM Paul Ivano CAST Edna Purviance, Raymond Blomer, Charles K. French, Eve Southern, Gayne Whitman, Guy Gilman, Charles Hammond

IT (1927) DIR Charles G. Badger [uncredited Josef von Sternberg] ASST DIR [uncredited] Joseph von Sternberg SCR Hope Loring, Louis D. Lighton (story and adaptation by Elinor Glyn; titles by George Marion Jr.) CAM H. Kinley Martin ED E. Lloyd Sheldon CAST Clara Bow, Antonio Moreno, William Austin, Priscilla Bonner, Jacqueline Gadsdon, Julia Swayne Gordon, Elinor Glyn, Gary Cooper, Dorothy Tree

CHILDREN OF DIVORCE (1927) DIR Frank Lloyd [uncredited Josef von Sternberg] PROD – ED E. Lloyd Sheldon SCR Hope Loring, Louis D. Lighton (story by Adela Rogers St. Johns; titles by Alfred Hudstwick; novel by Owen Johnson) CAM Victor Milner, Norbert Brodine CAST Clara Bow, Esther Ralston, Gary Cooper, Norman Trevor, Hedda Hopper, Edward Martindel, Einar Hanson

UNDERWORLD (1927) DIR Josef von Sternberg, Arthur Rosson SCR [uncredited] Joseph von Sternberg (story by Ben Hecht; adaptation by Robert N. Lee, Charles Furthman; titles by George Marion Jr.) CAM Bert Glennon ED E. Lloyd Sheldon CAST George Bancroft, Clive Brook, Evelyn Brent, Fred Kohler, Helen Lynch, Larry Semon, Jerry Mandy

THE LAST COMMAND (1928) DIR Josef von Sternberg PROD Jesse L. Lasky, Adolph Zukor SCR John F. Goodrich (story by Josef von Sternberg, Lajos Biró; titles by Herman J. Mankiewicz) CAM Bert Glennon ED William Shea CAST Emil Jannings, Evelyn Brent, William Powell, Jack Raymond, Nicholas Soussanin, Michael Visaroff, Fritz Feld

STREET OF SIN (1928) DIR Mauritz Stiller [uncredited Josef von Sternberg, Lothar Mendes, Ludwig Berger] PROD Mauritz Stiller SCR Chandler Sprague (story by Josef von Sternberg, Benjamin Glazer; titles by Julian Johnson) CAM Bert Glennon ED George Nichols Jr. CAST Emil Jannings, Fay Wray, Olga Baclanova, Ernest W. Johnson, George Kotsonaros, John Gough, John Burdette

THE DRAGNET (1928) DIR Josef von Sternberg SCR Charles Furthman, Jules Furthman, Herman J. Mankiewicz (story ‘Nightstick’ by Oliver H. P. Garrett) CAM Harold Rosson ED Helen Lewis CAST George Bancroft, Evelyn Brent, William Powell, Fred Kohler, Francis McDonald, Leslie Fenton

THE WEDDING MARCH (1928) DIR Erich von Stroheim PROD Erich von Stroheim, Pat Powers SCR Erich von Stroheim, Harry Carr CAM Ray Rennahan, Roy H. Klaffki ED Frank E. Hull [uncredited Josef von Sternberg, Erich von Stroheim, Paul Weatherwax] CAST Erich von Stroheim, Fay Wray, Zasu Pitts, Matthew Betz, George Fawcett, Maude George, George Nichols, Dale Fuller

THE DOCKS OF NEW YORK (1928) DIR – PROD Josef von Sternberg SCR Jules Furthman (story by Jules Furthman; suggested by ‘The Dock Walloper’ by John Monk Saunders; titles by Julian Johnson) CAM Harold Rosson ED Helen Lewis CAST George Bancroft, Betty Compson, Olga Baclanova, Clyde Cook, Mitchell Lewis, Gustav von Seyffertitz

THE CASE OF LENA SMITH (1929) DIR Josef von Sternberg SCR Jules Furthman (story by Samuel Ornitz; titles by Julian Johnson) CAM Harold Rosson ED Helen Lewis CAST Esther Ralston, James Hall, Gustav von Seyffertitz, Emily Fitzroy, Fred Kohler, Betty Aho, Lawrence Grant, Leone Lane, Kay Deslys, John Loder

THUNDERBOLT (1929) DIR Josef von Sternberg PROD B. P. Fineman SCR Josef von Sternberg, Herman J. Mankiewicz (story by Charles Furthman, Jules Furthman; titles by Joseph L. Mankiewicz) CAM Henry W. Gerrard ED Helen Lewis CAST George Bancroft, Fay Wray, Richard Arlen, Tully Marshall, Eugenie Besserer, James Spottswood, Robert Elliott, Fred Kohler, Louise Beavers

DER BLAUE ENGEL, a.k.a. THE BLUE ANGEL (1930) DIR Josef von Sternberg PROD Erich Pommer SCR Robert Liebmann, Karl Vollmöller, Carl Zuckmayer [uncredited Josef von Sternberg] (English dialogue by Carl Winston; novel by Heinrich Mann) CAM Hans Schneeberger, Günther Rittau ED Sam Winston, Walter Klee MUS Friedrich Hollaender CAST Emil Jannings, Marlene Dietrich, Kurt Gerron, Rosa Valetti, Hans Albers, Reinhold Bernt, Károly Huszár, Eduard von Winterstein

MOROCCO (1930) DIR Josef von Sternberg PROD Hector Turnbull SCR (adaptation by Jules Furthman; play ‘Amy Jolly’ by Benno Vigny) CAM Lee Garmes, Lucien Ballard ED Sam Winston MUS Karl Hajos CAST Gary Cooper, Marlene Dietrich, Adolphe Menjou, Ullrich Haupt, Eve Southern, Francis McDonald, Paul Porsaci

THE HONEYMOON (1930) DIR – SCR Erich von Stroheim CAM Hal Mohr ED Josef von Sternberg CAST Erich von Stroheim, Zasu Pitts, Fay Wray

DISHONORED (1931) DIR Josef von Sternberg SCR Josef von Sternberg, Daniel Nathan Rubin (story ‘X-27’ by Josef von Sternberg) CAM Lee Garmes ED [uncredited] Josef von Sternberg MUS Karl Hajos, Herman Hand ADDITIONAL MUS [uncredited Josef von Sternberg] CAST Marlene Dietrich, Victor McLaglen, Gustav von Seyffertitz, Warner Oland, Lew Cody, Barry Norton

AN AMERICAN TRAGEDY (1931) DIR – PROD Josef von Sternberg SCR Samuel Hoffenstein [uncredited] Josef von Sternberg (novel by Theodore Dreiser) CAM Lee Garmes MUS John Leipold, Ralph Rainger CAST Phillips Holmes, Sylvia Sidney, Frances Dee, Irving Pichel, Frederick Burton, Claire McDowell, Wallace Middleton, Emmett Corrigan

SHANGHAI EXPRESS (1932) DIR Josef von Sternberg SCR Jules Furthman (story by Harry Hervey) CAM Lee Garmes ED Frank Sullivan MUS W. Franke Harling CAST Marlene Dietrich, Clive Brook, Anna May Wong, Warner Oland, Eugene Pallette, Lawrence Grant, Louise Closser Hale, Gustav von Seyffertitz

BLONDE VENUS (1932) DIR Josef von Sternberg PROD [uncredited] Josef von Sternberg SCR Jules Farthman, S. K. Lauren (story by Josef von Sternberg, Jules Furthman) CAM Bert Glennon ED Josef von Sternberg [uncredited] MUS John Leipold, W. Franke Harling, Paul Marquandt, Oscar Potoker CAST Marlene Dietrich, Herbert Marshall, Cary Grant, Dickie Moore, Gene Morgan, Rita La Roy, Robert Emmett O’Connor, Sidney Toler

THE SCARLET EMPRESS (1934) DIR Josef von Sternberg PROD [uncredited] Josef von Sternberg SCR (based on the diary of Catherine the Great; diary arranged by Manuel Komroff) CAM Bert Glennon ED [uncredited Joseph von Sternberg, Sam Winston] LIGHTING TECHNICHIAN [uncredited Josef von Sternberg] CAST Marlene Dietrich, John Lodge, Sam Jaffe, Louise Dresser, C. Aubrey Smith, Gavin Gordon, Olive Tell, Ruthelma Stevens, Jane Darwell

THE DEVIL IS A WOMAN (1935) DIR – PROD – CAM Josef von Sternberg SCR Oran Schee, David Hertz (adaptation by John Dos Passos; novel by Pierre Louÿs) ED Sam Winston ART DIRECTION [uncredited Josef von Sternberg, Hans Dreier] MUS John Leipold, Hans Roemheld CAST Marlene Dietrich, Lionel Atwill, Edward Everett Horton, Cesar Romero; Don Alvarado

CRIME AND PUNISHMENT (1935) DIR Josef von Sternberg PROD B. P. Schulberg SCR Joseph Anthony, S. K. Lauren (novel by Fyodor Dostoevsky) CAM Lucien Ballard ED Richard Cahoon MUS Louis Silvers, R. H. Bassett CAST Edward Arnold, Peter Lorre, Marian Marsh, Tara Birell, Elisabeth Risdon, Robert Allen, Douglass Dumbrille, Gene Lockhart, Thurston Hall

THE KING STEPS OUT (1936) DIR Josef von Sternberg  SCR Sidney Buchman (story by Hubert Marischka; play by Ernst Decsey, Gustav Holm) CAM Lucien Ballard ED Viola Lawrence MUS Howard Jackson CAST Franchot Tone, Grace Moore, Walter Connolly, Frieda Inescort, Thurston Hall, Victor Jory, Herman Bing, Carla Laemmle, Maria Riva

I, CLAUDIUS (1937, unfinished) DIR Josef von Sternberg PROD Alexander Korda SCR (book by Robert Graves) CAM Georges Périnal MUS Arthur Bliss CAST Charles Laughton, Merle Oberon, Emlyn Williams, Flora Robson, Robert Newton, Roy Emerton, Everley Gregg

THE GREAT WALTZ (1938) DIR Julien Duvivier [uncredited Josef von Sternberg, Victor Fleming] PROD Bernard H. Hyman SCR Samuel Hoffenstein, Walter Reisch (story by Gottfried Reinhardt) CAM Joseph Ruttenberg ED Tom Held MUS Dimitri Tiomkin CAST Luise Rainer, Fernand Gravet, Miliza Korjus, Hugh Herbert, Lionel Atwill, Curt Bois

SERGEANT MADDEN (1939) DIR Josef von Sternberg PROD J. Walter Rubin SCR Wells Root (story ‘A Gun In His Hand’ by William A. Ulman Jr.) CAM John F. Seitz ED Conrad A. Nervig MUS William Axt CAST Wallace Beery, Tom Brown, Alan Curtis, Laraine Day, Fay Holden, Marc Lawrence, Marion Martin, David Gorcey, Donald Haines

LADY OF THE TROPICS (1939) DIR Jack Conway [uncredited Leslie Fenton] PROD Sam Zimbalist SCR Ben Hecht (treatment by Josef von Sternberg) CAM George J. Folsey ED Elmo Veron MUS Frans Waxman CAST Robert Taylor, Hedy Lamarr, Joseph Schildkraut, Gloria Franklin, Ernest Cossart, Mary Taylor, Charles Trowbridge, Frederick Worlock

I TAKE THIS WOMAN (1940) DIR W. S. Van Dyke [uncredited Josef von Sternberg, Frank Borzage] SCR James Kevin McGuinness (story by Charles MacArthur) CAM Harold Rosson ED George Boemler MUS Bronislau Kaper, Artur Guttmann CAST Spencer Tracy, Hedy Lamarr, Verree Teasdale, Kent Taylor, Laraine Day, Mona Barrie, Jack Carson, Paul Cavanaugh, Louis Calhern, Marjorie Main

THE SHANGHAI GESTURE (1941) DIR Josef von Sternberg SCR (adaptation by Josef von Sternberg; play by John Colton) CAM Paul Ivano ED Sam Winston MUS Richard Hageman CAST Gene Tierney, Walter Huston, Victor Mature, Ona Munson, Phyllis Brooks, Albert Bassermann, Maria Ouspenskaya, Eric Blore, Marcel Dalio

DUEL IN THE SUN (1946) DIR King Vidor [uncredited Josef von Sternberg, David O. Selznick, William Dieterle, William Cameron Menzies, Otto Brower, Sidney Franklin] PROD David O. Selznick SCR David O. Selznick (adaptation by Oliver H. P. Garrett; suggested by novel by Niven Busch) CAM Lee Garmes, Harold Rosson, Ray Rennahan MUS Dimitri Tionkim VISUAL CONSULTANT [uncredited Josef von Sternberg] CAST Jennifer Jones, Gregory Peck, Joseph Cotten, Lionel Barrymore, Herbert Marshall, Lillian Gish, Walter Huston, Charles Bickford, Butterfly McQueen

MACAO (1952) DIR Josef von Sternberg [uncredited Nicholas Ray] PROD Alex Gottlieb SCR Stanley Rubin, Bernard C. Schoenfeld (story by Robert Creighton Williams) CAM Harry J. Wild ED Robert Golden, Samuel E. Beetley MUS Anthony Collins CAST Robert Mitchum, Jane Russell, William Bendix, Thomas Gomez, Gloria Grahame, Brad Dexter, Edward Ashley, Philip Ahn

ANATAHAN (1953) DIR Josef von Sternberg PROD Kazuo Takimura EXEC PROD [uncredited Joseph von Sternberg, Yoshio Osawa, Nagamasa Kawakita] SCR Josef von Sternberg, Tatsuo Asano (novel by Younghill Kahn, Michiro Maruyama) CAM Josef von Sternberg, Kôzô Okazaki ED Mitsuzô Miyata MUS Akira Ifukube CAST Akemi Negishi, Tadashi Suganuma, Kisaburo Sawamura, Shôji Nakayama, Jun Fukijawa, Hiroshi Kondô, Josef von Sternberg (Narrator, voice only)

JET PILOT (1957) DIR Josef von Sternberg PROD – SCR Jules Furthman CAM Winton C. Koch ED William M. Moore, Harry Marker, Michael R. McAdam MUS Bronislau Kaper CAST John Wayne, Janet Leigh, Jay C. Flippen, Paul Fix, Richard Rober, Roland Winters, Hans Conried, Hal Bartlett, Mamie Van Doren

2. FILMS OF NICHOLAS JOSEF VON STERNBERG

DOLEMITE (1975) DIR D’Urville Martin PROD Rudy Ray Moore, Theodore Toney SCR Jerry Jones (adaptation by Rudy Ray Moore) CAM Nicholas Josef von Sternberg MUS Arthur Wright CAST Rudy Ray Moore, D’Urville Martin, Jerry Jones, Wesley Gale, Lady Reed, Brenda DeLong, Terri Mosley

KILL ALEX KILL (1976) DIR – SCR Tony Zarindast [Mohammed T. Zarindast] CAM Nicholas Josef von Sternberg CAST Tony Zarindast, John Di Fusco, Chris Ponti, Tina Romanus

HUGHES AND HARLOW: ANGELS IN HELL (1977) DIR Larry Buchanan PROD Larry Buchanan, William B. Silberkleit SCR Larry Buchanan, Lynn Shubert CAM Nicholas Josef von Sternberg ED Robert Fitzgerald MUS Jimmie Haskell CAST Victor Holchak, Lindsay Bloom, David McLean, Charles Aidikoff, James S. Appleby, Wally K. Berns

DISCO 9000 (1977) DIR D’Urville Martin PROD D’Urville Martin, Demetrius Johnson, Robert Paul Ross, Cary Glieberman SCR Roland S. Jefferson CAM Nicholas Josef von Sternberg MUS Johnnie Taylor CAST John Poole, Jeannie Bell, Harold Nicholas, Nicholas Lewis, Sidney Bagby, Shirley Washington, Harold Daniels, D’Urville Martin

PETE WHEATSTRAW (1977) DIR Cliff Roquemore PROD Theodore Toney SCR Cliff Roquemore (character created by Rudy Ray Moore) CAM Nicholas Josef von Sternberg ED Cecelia Hall, Jack Tucker MUS Nat Dove CAST Rudy Ray Moore, Jimmy Lynch, Leroy Daniels, Ernest Mayhand, Ebony Wright, Steve Gallon, G. Tito Shaw

ALEX JOSEPH AND HIS WIVES (1977) DIR – PROD – ED Ted V. Mikels SCR Ted V. Mikels, William Edward Thrush, Alex Johnson CAM Nicholas Josef von Sternberg MUS Ted V. Mikels, Nicholas Carras CAST Alex Joseph, Dale, Margaret, Leslie, Lorraine, Carmen, Joanie, Pamela, Judy, Paulette, Medina, Kitty, Carla, Robbie Anslow, Morris Chee

DEATH DRUG (1978) DIR Oscar Williams PROD Demetrius Johnson SCR Roland S. Jefferson CAM Nicholas Josef von Sternberg CAST Philip Michael Thomas, Vernee Watson, Rosalind Cash, Frankie Crocker, John Poole, Casey Biggs

TOURIST TRAP (1979) DIR David Schmoeller PROD J. Larry Carroll  SCR David Schmoeller, J. Larry Carroll CAM Nicholas Josef von Sternberg ED Ted Nicolaou MUS Pino Donaggio CAST Chuck Connors, Jocelyn Jones, Jon Van Ness, Robin Sherwood, Tanya Roberts, Dawn Jeffory, Keith McDermott

GAS PUMP GIRLS (1979) DIR Joel Bender PROD David A. Davies SCR Joel Bender, David A. Davies, Isaac Blech CAM Nicholas Josef von Sternberg ED Patrick McMahon MUS Leigh Crizoe CAST Kirsten Baker, Linda Lawrence, Sandy Johnson, Rikki Marin, Leslie King, Demetre Phillips, Steve Bond, Ken Lerner

MISTRESS OF THE APES (1979) DIR – SCR Larry Buchanan PROD John F. Rickert CAM Nicholas Josef von Sternberg CAST Jenny Neumann, Barbara Leigh, Garth Pillsbury, Walt Robin, Stuart Lancaster, Mark Rhudy, Marius Mazmanian

ON THE AIR LIVE WITH CAPTAIN MIDNIGHT (1979) DIR – PROD – SCR Beverly Sebastian, Fred Sebastian CAM Nicholas Josef von Sternberg ED Beth Bergerson, Dwight Rasmusssen MUS Bob Feldman, E. Baker Scott CAST Tracy Sebastian, John Ireland, Dena Dietrich, Ted Gehring, Mia Kovacs, Barry Greenberg, Jim Ladd, Rosemary Alexander

THE GREAT SKYCOPTER RESCUE (1980) DIR – PROD Lawrence David Foldes SCR Lawrence David Foldes, Henry Edwards, Tony Crechales (story by James Courant) CAM Nicholas Josef von Sternberg ED Dan Perry, Ted Nicolaou MUS Steve Myland CAST Aldo Ray, William Marshall, Russell Johnson, Taul Tanashian, Terri Taylor, Richard C. Adams, Maria Caso

HOSPITAL MASSACRE (1981) DIR Boaz Davidson PROD Menahem Golan, Yoram Globus SCR Marc Behm (story by Boaz Davidson) CAM Nicholas Josef von Sternberg ED John Koslowsky MUS Arlon Ober CAST Barbi Benton, Charles Lucia, Jon Van Ness, John Warner Williams, Den Surles, Gloria Jean Morrison, Karen Smith

WACKO (1982) DIR – PROD Greydon Clark SCR Dana Olsen, Michael Spound, Jim Kouf, David Greenwalt CAM Nicholas Josef von Sternberg ED Earl Watson, Curtis Burch MUS Arthur Kempel CAST Joe Don Baker, Stella Stevens, George Kennedy, Julia Duffy, Scott McGinnis, Elizabeth Daily, Michele Tobin, Andrew Dice Clay

PINK MOTEL (1982) DIR Mike MacFarland PROD Jim Kouf, Ed Albert SCR Jim Kouf CAM Nicholas Josef von Sternberg ED Earl Watson MUS Larry K. Smith CAST Phyllis Diller, Slim Pickens, Terri Berland, Brad Cowgill, Squire Fridell, Cathryn Hartt, Heidi Holicker, Andrea Howard

JOYSTICKS (1983) DIR – PROD Greydon Clark SCR Al Gomez, Mickey Epps, Curtis Burch CAM Nicholas Josef von Sternberg ED Larry Bock CAST Joe Don Baker, Leif Green, Scott McGinnis, Jon Gries, Corinne Bohrer, John Diehl, John Voldstad, Reid Cruickshanks

JUNGLE WARRIORS (1984) DIR – PROD Ernst Ritter von Theumer SCR Ernst Ritter von Theumer, Robert Collector CAM Nicholas Josef von Sternberg ED Juan José Marino MUS Roland Baumgartner CAST Nina van Pallandt, Paul L. Smith, John Vernon, Alex Cord, Sybill Danning, Marjoe Gortner, Woody Strode, Dana Elcar

DOWN ON US (1984) DIR – SCR Larry Buchanan PROD [uncredited] Larry Buchanan CAM Nicholas Josef von Sternberg CAST Riba Meryl, Gregory Allen Chatman, Bryan Wolf, Sandy Kenyon, Joe Camp, Toni Sawyer, Steven Tice, Jennifer Wilde

SPACE PATROL (1984) DIR – ED Erica Freeman PROD Ando Kimura SCR Kyra Reese (story by Ando Kimura, Richard Davis) CAM Nicholas Josef von Sternberg MUS Kyle Buchanan CAST Michael Puttnam, Sandra Grant, Albert Cannon, Jocelyn Nelson, Debra Coline, Jack Davis, Hugh Ecklund

FINAL JUSTICE (1985) DIR – PROD – SCR Greydon Clark CAM Nicholas Josef von Sternberg ED Larry Bock MUS David Bell CAST Joe Don Baker, Rossano Brazzi, Venantino Venantini, Patrizia Pellegrino, Bill McKinney, Helena Dalli, Greydon Clark

APPOINTMENT WITH FEAR (1985) DIR Ramsey Thomas [Alan Smithee] PROD Tom Boutross SCR Gideon Davis, Bruce Meade CAM Nicholas Josef von Sternberg ED Herbert L. Strock, Paul Jasiukonis, Mark W. Rosenbaum MUS Andrea Saparoff CAST Michele Little, Michael Wyle, Kerry Remsen, Douglas Rowe, Garrick Dowhen, Deborah Voorhees, Pamela Bach-Hasselhoff

VALET GIRLS (1987) DIR Rafal Zielinski PROD Dennis Stuart Murphy, Debra Dion SCR Clark Carlton CAM Nicholas Josef von Sternberg ED Akiko B. Metz MUS Non Parr CAST Meri D. Marshall, April Stewart, Mary Kohnert, Jack DeLeon, Patricia Scott Michel, Jon Sharp, Michael Karm

NO RETREAT, NO SURRENDER 2: RAGING THUNDER (1987) DIR Corey Yuen PROD Roy Horan SCR Roy Horan, Maria Elena Cellino, Keith W. Strandberg CAM Nicholas Josef von Sternberg, Chin Chiang Ma ED Kevin Sewelson, Hung Spoon [Allan Poon] MUS David Spear CAST Loren Avedon, Max Thayer, Cynthia Rothrock, Patra Wanthivanond, Matthias Hues, Nurit Sirichanya

SLAUGHTERHOUSE ROCK (1988) DIR Dimitri Logothetis PROD Louis George SCR Ted Landon, Sandra Willard, Nora Goodman (story by Dimitri Logothetis) CAM Nicholas Josef von Sternberg ED Daniel Gross MUS Mark Mothersbaugh, Gerald V. Casale CAST Toni Basil, Nicholas Celozzi, Tom Reilly, Donna Denton, Hope Marie Carlton, Tammy Hyler, Steven Brian Smith

UNINVITED (1988) DIR – PROD – SCR Greydon Clark CAM Nicholas Josef von Sternberg ED Travis Clark, Tom Gunn MUS Dan Slider CAST George Kennedy, Alex Cord, Clu Gulager, Toni Hudson, Eric Larson, Clare Carey, Beau Dremann, Rob Estes, Greydon Clark

DANGEROUS LOVE (1988) DIR – SCR Marty Ollstein PROD Steven Stabler, Brad Krevoy CAM Nicholas Josef von Sternberg ED Anthony M. Lanza MUS Paul Hertzog CAST Lawrence Monoson, Brenda Bakke, Angelyne, Peter Marc Jacobson, Teri Austin, Sal Landi, Anthony Geary

ALIEN (1989) DIR David DeCoteau PROD David DeCoteau, John Schouweiler SCR Kenneth J. Hall CAM Nicholas Josef von Sternberg ED Tony Malanowski MUS Reg Powell, Sam Winans CAST Billy Jane, Judy Landers, Olivia Barash, Stuart Franklin, Raymond O’Connor, Arlene Golonka, Jim Hackett, Troy Donahue

SKINHEADS (1989) DIR – PROD Greydon Clark SCR Greydon Clark, David Reskin CAM Nicholas Josef von Sternberg ED Travis Clark MUS Dan Slider CAST Chuck Connors, Barbara Bain, Jason Culp, Brian Brophy, Liz Sagal, Bill Kohne, Lynna Hopwood, Gene Mitchell

GHOST WRITER (1989) DIR – SCR Kenneth J. Hall PROD David DeCoteau, John Schouweiler CAM Nicholas Josef von Sternberg ED Tony Malanowski MUS Reg Powell, Sam Winans CAST Judy Landers, Audrey Landers, John Matuszak, David Doyle, Jeff Conaway, Joey Travolta, Anthony Franciosa

OUT OF SIGHT, OUT OF MIND (1990) DIR Greydon Clark PROD Richard L. Albert SCR Roy Langsdon, John Platt CAM Nicholas Josef von Sternberg ED Robert Edwards MUS Peter Rodgers Melnick CAST Susan Blakely, Wings Hauser, Edward Albert, Lynn-Holly Johnson, Richard Masur, Jessica Player, Edwina Moore

TEXASVILLE (1990) DIR Peter Bogdanovich PROD Peter Bogdanovich, Barry Spikings SCR Peter Bogdanovich (novel by Larry McMurtry) CAM Nicholas Josef von Sternberg ED Rick Fields, Ronald Krehel CAST Jeff Bridges, Cybill Shepherd, Timothy Bottoms, Randy Quaid, Eileen Brennan, Annie Potts, Cloris Leachman

THE CLOSER (1990) DIR Dimitri Logothetis PROD Joseph Medawar SCR Louis LaRusso II, Robert Keats (play by Louis LaRusso II) CAM Nicholas Josef von Sternberg ED Tracy Granger CAST Danny Aiello, Michael Paré, Joe Cortese, Justine Bateman, Diane Baker, Tim Quill, Michael Lerner

PERFUME (1991) DIR – SCR Roland S. Jefferson CAM Nicholas Josef von Sternberg ED Joy Rencher MUS Willie Hutch CAST Kathleen Bradley, Cheryl Francis Harrington, Ted Lange, Shy Jefferson, Lynn Marlin, Eugenia Wright

HIT THE DUTCHMAN (1992) DIR – PROD Menahem Golan SCR Menahem Golan [Joseph Goldman] (story by Alex Simon) CAM Nicholas Josef von Sternberg ED Bob Ducsay, Kelly Takemura, Katina Zinner MUS Terry Plumeri CAST Bruce Nozick, Jack Conley, Sally Kirkland, Jennifer Pusheck, Eddie Bradley, Christopher Bradley, Menahem Golan [Joseph Goldman]

STONE SOUP (1993) DIR – PROD – SCR Mitchell Cohen CAM Nicholas Josef von Sternberg ED Conal O’Herlihy CAST Samira Bordji, James Karen, Loyd Catlett, Grace Zabriskie, Robert Clohessy, Renee Rogers, Steve Witting

BODY SHOT (1994) DIR Dimitri Logothetis PROD Dimitri Logothetis, Gene Margoluis SCR Robert Ian Strauss (additional dialogue by Terry Lennox, Frederick Bailey) CAM Nicholas Josef von Sternberg ED Mort Fallick MUS Clif Magness CAST Robert Patrick, Michelle Johnson, Ray Wise, Jonathan Banks, Kim Miyori, Peter Koch, Charles Napier

DARK FUTURE (1994) DIR Greydon Clark PROD Greydon Clark, Dan Slider SCR David Reskin (story by Greydon Clark, David Reskin, Dan Slider) CAM Nicholas Josef von Sternberg ED Trevor Clark MUS Dan Slider CAST Darby Hinton, Leonard Donato, Andria Mann, Gabriel Vaughn, Julian Jurin, Anatoly Shveder, Anna Leon

VIRUS (1996) DIR Allan A. Goldstein PROD Damian Lee SCR Les Standiford CAM Nicholas Josef von Sternberg ED Evan Landis MUS Larry Cohen CAST Brian Bosworth, Leah Pinset, David Fox, Daniel Kash, Eric Peterson, Stephen Markle, Patrick Galligan

SOLITAIRE (1996) DIR Gareth O’Neil PROD Hans Ritter SCR David Keith Miller (story by Michael Cain) CAM Nicholas Josef von Sternberg ED Heath Grolien MUS Alex Wilkinson CAST Palmer Lee Todd, Kehli O’Byrne, Lori Jo Hendrix, Matt Moscato, Scott Anthony Leet, Ken Fording

HUNGRY FOR YOU (1996) DIR Dimitri Logothetis PROD Gary Hudson SCR Terry Lennox CAM Nicholas Josef von Sternberg ED Gareth O’Neil MUS Joel Hirschhorn CAST Michael Phenicie, Rochelle Swanson, Gary Wood, Nancy Hochman, Ritchie Montgomery, Michael Gregory

ENCOUNTERS (1996) DIR Daniel Rogosin PROD Michael Cain, James Cain Jr. SCR Mary Ellen Hanover CAM Nicholas Josef von Sternberg ED Carol Oblath MUS Alex Wilkinson CAST Rachel Wagner, Dean Tarrolly, Leslie Zemeckis, Tom Ardavany, Joseph Beauchamp, Megan Blake, Gary Wood

CLUB V.R. (1996) DIR Gary Hudson PROD Dimitri Logothetis SCR David Keith Miller (story by David Keith Miller, Michael Cain) CAM Nicholas Josef von Sternberg ED Daniel Tivin, Carol Oblath MUS Joel Hirschhorn CAST Kate Rodger, Russell Todd, Erika Anderson, Roy Werner, Art Edler, Dimitro Logothetis, Lee Anne Beaman

CHEYENNE (1996) DIR Dimitri Logothetis PROD Dimitri Logothetis, Aaron Heck SCR Frederick Bailey CAM Nicholas Josef von Sternberg ED Laura M. Grody MUS Joel Hirschhorn CAST Gary Hudson, Bobbie Phillips, Bo Svenson, M. C. Hammer, Bobby Bell, Ritchie Montgomery, Dimitri Logothetis

PAPERTRAIL (1998) DIR Damian Lee SCR Damian Lee, Joseph O’Brien CAM Nicholas Josef von Sternberg ED Paul G. Day CAST Chris Penn, Jennifer Dale, Michael Madsen, Chad McQueen, Terri Hawkes, Catherine Blythe, Kenneth McGregor, Thea Gill

JUNGLE BOY (1998) DIR Allan A. Goldstein PROD Damian Lee, Blye Migiousky SCR Damian Lee, John Lawson (story by Damian Lee, Ashok Amritraj; characters created by Damian Lee, Ashok Amritraj) CAM Nicholas Josef von Sternberg ED Kert VanderMeulen MUS Eric Wurst, David Wurst CAST David Fox, Asif Mohammed Seth, Lea Moreno, Jeremy Roberts, Chippy Gangjee, Premlal, Ratan Thakore Grant

STARGAMES (1998) DIR Greydon Clark PROD Greydon Clark, Darby Hinton, David L. Hewitt SCR Greydon Clark, David Reskin CAM Nicholas Josef von Sternberg MUS Ulrich Sinn CAST Trevor Clark, Travis Clark, Tony Curtis, Darby Hinton, Jacqulin Cole, Daran Norris, Conrad Hadan, Brian Fitzpatrick, Greydon Clark

FALL (2001) DIR Daniel Baldwin PROD Chad McQueen, Josh Silver, Josh Kesselman, John Gillespie SCR Kenneth August CAM Nicholas Josef von Sternberg ED Lisa Grootenboer MUS Terence Gowan CAST Michael Madsen, Karl Pruner, Daniel Baldwin, Chad McQueen, Joe Mantegna, Anna Starnino, Lawrence Dane

CRIME AND PUNISHMENT (2002) DIR – PROD Menahem Golan SCR Menahem Golan (adaptation by Menahem Golan [Joseph Goldman]; novel by Fyodor Dostoevsky) CAM Nicholas Josef von Sternberg ED Carolle Alain MUS Robert O. Ragland CAST Crispin Glover, Vanessa Redgrave, John Hurt, Margot Kidder, John Neville, Sophie Ward, Richard Lynch

TV MOVIES

AMERICANSKI BLUES (1995) DIR Wayne Crawford PROD Gregory Small TELEPLAY Carlos Brooks CAM Nicholas Josef von Sternberg ED Wayne Lines MUS Julian Laxton CAST Sergei Pankratyev, Daniel Quinn, Vladimir Shpudejko, William Katt, Wayne Crawford, Nikolai Nedovodin, Asley Laurence

LEGEND OF THE LOST TOMB (1997) DIR Jonathan Winfrey PROD Julie Corman TELEPLAY Jeremy Doner (book by Walter Dean Myers) CAM Nicholas Josef von Sternberg ED Louis Cioffi MUS Kevin Kiner CAST Stacy Keach, Kimberlee Peterson, Rick Rossovich, Brock Pierce, Khaled El-Sawi, Hamdy Heykal, Youssef Dawood

KILLING MOON (1999) DIR John Bradshaw PROD John Gillespie CAM Nicholas Josef von Sternberg ED Terence Gowan MUS Jeff Winch, Paul G. Day CAST Kim Coates, Daniel Baldwin, Penelope Ann Miller, Daniel Kash, Denis Akiyama, Tracey Cook, Christopher Bolton