Jan Tomáš Forman net worth is
$20 Million

Jan Tomáš Forman Wiki Biography

Milos Forman was born Jan Tomas Forman in Caslav, Czechoslovakia, to Anna (Svabova), who ran a summer hotel, and Rudolf Forman, a professor. During World War II, his parents were taken away by the Nazis, after being accused of participating in the underground resistance. His father died in Buchenwald and his mother died in Auschwitz, and Milos …



  • Structural Info
  • Trademarks
  • Quotes
  • Facts
  • Pictures
  • Filmography
  • Awards
Full Name Miloš Forman
Net Worth $20 Million
Date Of Birth February 18, 1932
Place Of Birth Cáslav, Czechoslovakia [now Czech Republic]
Profession Director, Writer, Actor
Education Film and TV School of the Academy of Performing Arts in Prague, Academy of Performing Arts in Prague, Film and TV School of the Academy of Performing Arts in Prague, Academy of Performing Arts in Prague
Spouse Martina Forman, Vera Kresadlová, Jana Brejchová, Martina Forman, Vera Kresadlová, Jana Brejchová
Children Petr Forman, Matej Forman, Andrew Forman, James Forman, Petr Forman, Matej Forman, Andrew Forman, James Forman
Parents Rudolf Forman, Anna Švábová, Otto Kohn, Rudolf Forman, Anna Švábová, Otto Kohn
Siblings Pavel Forman, Pavel Forman
IMDB http://www.imdb.com/name/nm0001232
Awards Academy Award for Best Director, Golden Globe Award for Best Director – Motion Picture, DGA Lifetime Achievement Award, Golden Bear, César Award for Best Foreign Film, BAFTA Award for Best Film, BAFTA Award for Best Direction, Silver Berlin Bear, David di Donatello for Best Foreign Director, David …
Nominations Academy Award for Best Foreign Language Film, Golden Lion, César Award for Best Director, Grand Jury Prize, Writers Guild of America Award for Best Original Comedy, BAFTA Award for Best Screenplay, Academy Award for Best Foreign Language Film, Golden Lion, César Award for Best Director, Grand Jury…
Movies Amadeus, One Flew Over the Cuckoo’s Nest, The People vs. Larry Flynt, Loves of a Blonde, The Firemen’s Ball, Man on the Moon, Valmont, Taking Off, Goya’s Ghosts, Black Peter, Ragtime, Hair, Visions of Eight, A Walk Worthwhile, Keeping the Faith, I Miss Sonia Henie, The Beloved, Chelsea on the Rocks,…
TV Shows Sodankylä Forever, Sodankylä Forever
# Trademark
1 Would frequently cast Vincent Schiavelli
2 Specializes in directing bio-pics about unlovable celebrities (Wolfgang Amadeus Mozart, Larry Flynt, Andy Kaufman).
# Quote
1 [accepting his Best Director Oscar for Amadeus (1984)] I’m very proud because this is an American movie on which a lot of Czechoslovakian artists and technicians collaborated – to get this kind of recognition from the members of the Academy for this kind of collaboration, I think it’s very encouraging for more than artistic or box office reasons.
2 [on Valmont (1989)] When I was in the film school in Prague, my professor of literature was a Francophile, and he was always suggesting that we read and study French literature. And he suggested ‘Les Liaisons Dangereuses’. I was 18 or 19 years old. Oh my god, how much I loved that book. I wouldn’t dare, of course, to say to anybody, but I thought it would be a wonderful, erotic movie. And then, many, many years later, I was asked to see ‘Les Liaisons Dangereuses’ on the stage, and to make the film with the Christopher Hampton adaptation. I went to see it, and I was sort of surprised how what I saw differs from my memory of the book. I thought my memory of the book was what was interesting, at least for me. So I said, “Yeah, I would like to make the film, but not based on the play. I would like to work with Mr Hampton, but I would like to base it on what I remember, what the book meant to me.” They didn’t like that idea. Then I discovered, to my surprise, that the play was very faithful to the book. My memory played these funny games on me, and in some arrogant way, I thought, “My memory’s interesting. My memory’s better.” And I got so involved and excited about the making of that movie.
3 [from his Oscar acceptance speech for One Flew Over the Cuckoo’s Nest (1975)] I thank the Academy for the company of the nominees they put me in – I’m very proud of that. When I want to think of what possible reasons I’m here now, I can find two: the first is that this year the Academy members recognised the fact that last year I spent more time in a mental institution than the others. And the second might be that, well, that America is still a very beautiful, hospitable and open country.
4 [on Amadeus (1984)] I was surprised at the size of the success. In the ’80s, with MTV on the scene, we are having a three-hour film about classical music, with long names and wigs and costumes. Don’t forget that no major studio wanted to finance the film, for those reasons. I knew we didn’t have a film we should be ashamed of, but the response of the audience was overwhelming. It surprised me.
5 [on directing “The Little Black Book” on Broadway] I enjoyed our arguments about the text with Delphine Seyrig and Richard Benjamin during rehearsals. I enjoyed the whole thing, but then I had to admit that I wasn’t a theatrical director. There are just a few directors – and Ingmar Bergman being one of the best – who are able to direct films as well as stage performances – and they are able to do it well. I’m not one of them. What I miss is the abstract imagination, which theatre definitely requires. I always have a feeling in the end that I’m holding a camera in my hand and that I’m being forced to look at the same shot for two hours and I have to choke back the urge to cry: ‘Stop!'”
6 [W]hen I was moonlighting on Czech TV as a moderator, introducing movies, in the early ’50s. It was live, so there was no chance to bleep politically undesirable words. Every utterance, even in supposedly spontaneous interviews, had to be scripted, approved by the censors, learned by heart and repeated verbatim on the air. When I was preparing to interview one Comrade Homola, a powerful Communist, I sent him questions, but didn’t receive his answers. My boss, also a powerful party member, told me: “He is lazy! Write his answers for him, and remind him to learn them by heart.” So I did. Comrade Homola arrived at the last moment. When the red light went on and I asked the first question, he reached into his pocket, took out my answers and started to read them, awkwardly and obediently – including my inadvertent grammatical mistakes. And thus, to my consternation, went the whole interview. In the control booth, my boss hit the roof. I was fired the next day for ridiculing a representative of the state.
7 My sister-in-law’s father, Jan Kunasek, lived in Czechoslovakia all his life. He was a middle-class man who ran a tiny inn in a tiny village. One winter night in 1972, during a blizzard, a man, soaked to the bone, awakened him at 2 in the morning. The man looked destitute and, while asking for shelter, couldn’t stop cursing the Communists. Taking pity, the elderly Mr. Kunasek put him up for the night. A couple of hours later, Mr. Kunasek was awakened again, this time by three plainclothes policemen. He was arrested, accused of sheltering a terrorist and sentenced to several years of hard labor in uranium mines. The state seized his property. When he was finally released, ill and penniless, he died within a few weeks. Years later we learned that the night visitor had been working for the police. According to the Communists, Mr. Kunasek was a class enemy and deserved to be punished.
8 I hear the word “socialist” being tossed around by the likes of Rick Perry, Newt Gingrich, Rick Santorum, Sean Hannity, Rush Limbaugh and others. President Barack Obama, they warn, is a socialist. The critics cry, “Obamacare is socialism!” They falsely equate Western European-style socialism, and its government provision of social insurance and health care, with Marxist-Leninist totalitarianism. It offends me, and cheapens the experience of millions who lived, and continue to live, under brutal forms of socialism.
9 When I was asked to direct One Flew Over the Cuckoo’s Nest (1975), my friends warned me not to go anywhere near it. The story is so American, they argued, that I, an immigrant fresh off the boat, could not do it justice. They were surprised when I explained why I wanted to make the film. To me it was not just literature but real life, the life I lived in Czechoslovakia from my birth in 1932 until 1968. The Communist Party was my Nurse Ratched, telling me what I could and could not do; what I was or was not allowed to say; where I was and was not allowed to go; even who I was and was not.
10 It all begins in the script. If what’s happening is interesting, it doesn’t matter where you shoot from, people will be interested to watch. If you write something boring, you can film from mosquitoes’ underpants and it will still be boring.
11 When the Nazis and Communists first came to Czechoslovakia, they declared war on pornographers and perverts. Everyone applauded: who wants perverts running through the streets? But then, suddenly, Jesus Christ was a pervert, Shakespeare was a pervert, Hemingway was a pervert. It always starts with pornographers to open the door a little, but then the door is opened wide for all kinds of persecution.
12 [on Jack Nicholson] The moment he begins to work, he becomes a servant: he knows the story, he knows the film, he arrives each day prepared to perfection, he is interested in an excellent ambiance and he helps to create it.
13 It’s funny to realize, but in my relatively short life I have lived through six or seven different social and cultural systems. First the Democratic Republic of Czechoslovakia, then the limited democracy before World War II, then the Nazi regime. After the Nazi regime there was a kind of democracy again for three years, then came the Stalinist regime, then the reformed Communist regime, and now I am living in a free country.
14 Give me $100,000 and I will make the film for $100,000. Give me $10m and I will make the film for $10m. Give me $100m and I will spend it.
15 On his twin sons: “Originally we were going to name the baby Andy, because I was doing a film about Andy Kaufman. Then we learned we were having twins, and we said, OK, it will be Andy and Tony, after Andy’s famous character, Tony Clifton. But then my son’s wife gave birth to a daughter, and they named her Toni. I couldn’t have a Tony, so we chose Jim. When you choose names for your children, you want to name them after somebody you like very much, so the name will always ring beautifully in your ears. And that was how I felt about Jim Carrey.”
16 [on Valmont (1989)] We were in the middle of our script already when they announced their version, based on the play. Of course we immediately learned they were rushing into it very fast. With the concept I had, we all knew I couldn’t be faster. We couldn’t beat them. So, I was expecting a call from the producers saying ‘Sorry, Milos, we can’t take the risk.’ The call came. They asked me, ‘Does it really bother you that another film is going to be made?’ I said of course not. And I felt like, god, Hollywood is still crazy. That’s good.
17 Some scenes have to be done exactly as they are written in the scripts because otherwise the pace would suffer, like that. But then there are scenes which allow a space for improvisation and then I like to encourage improvisation, but you have to always have exact script because 90% of improvisation is usually very boring, unusable. But the 10% or even less, even if you have 1%, you can get such a gem of unrepeatable moments of films that it’s worth it to try to improvise. But if improvisation doesn’t work you have to have a solid script to go back to.
18 Director is little bit of everything, little bit of the writer, little bit of an actor, little bit of an editor, little bit of a costume designer. Good director is the director who chooses for this profession people who are better than he is. Yes, I can write, but I have to have a writer who is a better writer than I am, I have to have actors who are better actors than I am, I have to have sound engineers who are better sound engineer than I am, you know. It’s a strange profession, ….visually it’s your vision.
19 Who doesn’t have sympathy for the underdog? Of course, I do. We create institutions, governments and schools to help us live, but every institution has a tendency, after a while, to behave not as if they should be serving you, but that you should be serving them. That’s when the individual gets in conflict, because we are paying these institutions with our taxes, we are paying them to serve us and help us live, and not to tell us how to live and dominate us. I wouldn’t say it’s the underdog but it’s always the conflict within the individual and the institutions. Instead of underdogs, let’s talk about dogs. If you corner a dog, he’s ready to bite you. That’s the reality. Otherwise he’s a loveable, wonderful creature. If you corner him, he can behave abominably. And so does a human being. When an individual is cornered by society or an institution, well, he can behave abominably and I can’t really hide it or glorify it. Neither. It’s just a fact of life.
20 The theatre is different from the movies, which is very right for the theatre, because you know when the curtain goes up, that nothing is real, that everything is stylized. The tree is not a real tree, it’s stylized. The language is stylized and must be stylized because you don’t have editing. You have to write lines so that you can communicate to the audience everything so they will understand. It’s stylized for that purpose. But film is very different because you see that everything is real. The trees are real, the buildings are real, the sky is real, so people better be real too and not stylized like on the stage.
21 I know this sounds so little, and not serious enough, but I believe that I have to have fun. We all have to have fun – me, the actors, the cameraman, everybody should feel as if we are making a home movie, because that is the only way to open the film to a certain kind of lightness. If everybody involved feels the seriousness, the heavy weight of money being stamped on movies, it somehow influences the result in a way which is anesthizing to life.
# Fact
1 Studied at FAMU film school in Prague, then Czechoslovakia, now Czech Republic. Other graduates of FAMU are Agnieszka Holland and Emir Kusturica.
2 Two of Milos Forman’s films, Loves of a Blonde and The Fireman’s Ball, are in the Criterion Collection.
3 He directed two Best Picture Academy Award winners: One Flew Over the Cuckoo’s Nest (1975) and Amadeus (1984).
4 He was raised by parents Anna (Svabova), who ran a summer hotel, and Rudolf Forman, a professor. They were Protestants, but were arrested by the Nazis during World War II after being accused of participating in the underground anti-Nazi resistance (his father died in Buchenwald and his mother died in Auschwitz). As an adult, Milos was told that his biological father was Otto Kohn, an architect of Jewish heritage (making Milos a biological half-brother of mathematician Joseph J. Kohn).
5 In the short story “La Pomme d’Or de l’éternel désir” (in the book of short stories “Risibles Amours”) by Milan Kundera, Martin, the hero’s womanizing friend introduces himself as Milos Forman to the naive country girl he tries to pick up (Folio edition, 1987, pg. 75).
6 Will receive the Directors Guild of America’s Lifetime Achievement Award for Distinguished Achievement in Motion Picture Direction [November 28, 2012].
7 Studied direction at the Prague Film Academy (FAMU) together with his friend George Skalenakis.
8 Ex-brother-in-law of Hana Brejchová.
9 He was the first choice of screenwriter Joe Eszterhas and original producer Irwin Winkler to direct Basic Instinct (1992). Forman liked the script and was interested in directing the film but Carolco, who had paid a record $3m for the script, made a deal with Paul Verhoeven to direct.
10 Is one of 9 directors to win the Golden Globe, Director’s Guild, BAFTA, and Oscar for the same movie, winning for One Flew Over the Cuckoo’s Nest (1975). The other directors to have achieved this are Mike Nichols for The Graduate (1967), Richard Attenborough for Gandhi (1982), Oliver Stone for Platoon (1986), Steven Spielberg for Schindler’s List (1993), Ang Lee for Brokeback Mountain (2005) and Danny Boyle for Slumdog Millionaire (2008), Alfonso Cuarón for Gravity (2013), and Alejandro G. Iñárritu for The Revenant (2015).
11 Was reportedly one of the first directors who considered turning the J.R.R. Tolkien novel, “The Lord of the Rings”, into a live action feature.
12 One of only three living directors who have directed two films that have won the Academy Award for best picture. The others are Francis Ford Coppola and Clint Eastwood.
13 He was due to have directed a film called Hell Camp in the early 1990s, from an original screenplay he had written with Adam Davidson. The film, to have been shot in New York and Tokyo, was to have starred Dylan Walsh and centred on two young Americans travelling to Japan and learning Japanese discipline and fighting spirit at a military-style camp. One falls in love with a Japanese girl while the other becomes a sumo wrestler. Shooting was to have started in November 1991 for a Christmas 1992 release but the film was cancelled when the Sumo Association of Japan objected to the script’s allegedly unflattering portrayal of the sport. TriStar, the film’s backers, offered to support Forman if he wanted to change the script or try to make the film without the cooperation of the Sumo Association but the director felt that the association’s cooperation was needed for the film’s authenticity in the provision of stadiums and professional sumo wrestlers.
14 He was hand-picked by Michael Crichton to direct Disclosure (1994) but subsequently left the project due to creative differences with Crichton.
15 His top ten films of all time are: City Lights (1931), Citizen Kane (1941), Children of Paradise (1945), Miracle in Milan (1951), Giant (1956), The Godfather (1972), Amarcord (1973), American Graffiti (1973), The Deer Hunter (1978) and Raging Bull (1980). [Source: “Sight and Sound”].
16 Member of the jury at the Cannes Film Festival in 1972.
17 President of the jury at the Cannes Film Festival in 1985.
18 Is currently director of Columbia University’s film division. He takes sabbatical years for filmmaking.
19 He directed 8 different actors in Oscar-nominated performances: Jack Nicholson, Louise Fletcher, Brad Dourif, Howard E. Rollins Jr., Elizabeth McGovern, F. Murray Abraham, Tom Hulce and Woody Harrelson. Nicholson, Fletcher and Abraham won Oscars for their performances in one of Forman’s movies.
20 Brother of Pavel Forman.
21 Biography in: John Wakeman, editor. “World Film Directors, Volume Two, 1945-1985.” Pages 349-356. New York: The H.W. Wilson Company, 1988.
22 First name is pronounced “Mee-losh.” Last name is pronounced like “Forre-mahn”, with rolling “r”‘s.
23 Father, with Vera Kresadlová, of twin brothers Matej Forman & Petr Forman.
24 Awarded fourth annual John Huston Award for Artists Rights by the Artists Rights Foundation. [1997]
25 Became US citizen in 1975.
26 His sons, Andrew and James, were named after Andy Kaufman and Jim Carrey. Carrey portrays Kaufman in Forman’s film Man on the Moon (1999).

All pictures

Director

Title Year Status Character
Dobre placená procházka 2009
Semafor: Nejvetsí hity 2 2007 Video videos “Rekomando blues”, “Ty jsi ta nejkrásnejsí krajina, co znám”, “Ty jsi ta nejkrásnejsí krajina, co znám /parody/”, “Já kolem tebe chtel bych krouzit”
Goya’s Ghosts 2006
Man on the Moon 1999
The People vs. Larry Flynt 1996
Valmont 1989
Amadeus 1984
Ragtime 1981
Hair 1979
One Flew Over the Cuckoo’s Nest 1975
Visions of Eight 1973 Documentary segment “Decathlon, The”
I Miss Sonia Henie 1971 Short
Taking Off 1971
The Firemen’s Ball 1967
Worth While 1966 TV Movie
The Loves of a Blonde 1965
Black Peter 1964
Audition 1964 Documentary
Why Do We Need All the Brass Bands? 1964 Documentary short
Laterna magika II 1960 Documentary

Writer

Title Year Status Character
Goya’s Ghosts 2006 written by
Valmont 1989 writer
Le mâle du siècle 1975 idea
Taking Off 1971 written by
La pince 1969 Short writer
The Firemen’s Ball 1967 screenplay
The Loves of a Blonde 1965 screenplay / story
Black Peter 1964
Audition 1964 Documentary
Why Do We Need All the Brass Bands? 1964 Documentary short
Laterna magika II 1960 Documentary
Stenata 1958 writer
Nechte to na mne 1955

Actor

Title Year Status Character
Beloved 2011 Jaromil
Peklo s princeznou 2009 Erlebub
Keeping the Faith 2000 Father Havel
New Year’s Day 1989 Lazlo
Heartburn 1986 Dmitri
Tam za lesem 1962 Doctor
Dedecek automobil 1957 Air mechanic / Assistant of camera
Stríbrný vítr 1954 Officer
Slovo delá zenu 1953 Young Worker

Producer

Title Year Status Character
A Short History of Decay 2014 executive producer
Nomad: The Warrior 2005 executive producer
Way Past Cool 2000 executive producer
Dreams of Love 1990 Short producer

Assistant Director

Title Year Status Character
Tam za lesem 1962 first assistant director
Stenata 1958 first assistant director
Dedecek automobil 1957 second assistant director

Miscellaneous

Title Year Status Character
Amadeus 1984 supervisor – 2002 director’s cut

Thanks

Title Year Status Character
Teresa 2015 TV Movie thanks
Nosferatu vs. Father Pipecock & Sister Funk 2014 special thanks
Crossroad 2012 acknowledgment to the works of
Remembering ‘Ragtime’ 2004 Video documentary short special thanks
The Making of ‘Amadeus’ 2002 Video documentary thanks
In the Shadow of Hollywood 2000 Documentary thanks
High Art 1998 special thanks
Bigbít 1998 TV Series documentary acknowledgment – 3 episodes
Heavy 1995 very special thanks

Self

Title Year Status Character
25 ze sedesátých, aneb Ceskoslovenská nová vlna 2010 Documentary Himself
Sodankylä ikuisesti 2010 TV Series documentary Himself
Milos Forman: Co te nezabije… 2009 Documentary Himself
Life and Film (The Labyrinthine Biographies of Vojtech Jasny) 2009 Documentary Himself
Uuden aallon jäljillä 2009 TV Movie documentary Himself
Zlatá sedesátá 2009 TV Series documentary Himself
Chelsea on the Rocks 2008 Documentary Himself
Générations 68 2008 Documentary Himself
Cartelera 2007 TV Series Himself
Hair, Let the Sun Shine In 2007 TV Movie documentary Himself
Fog City Mavericks 2007 Documentary Himself
Corazón de… 2006 TV Series Himself
Cineastas contra magnates 2005 Documentary Himself
Remembering ‘Ragtime’ 2004 Video documentary short Himself
Tell Them Who You Are 2004 Documentary Himself
François Truffaut, une autobiographie 2004 TV Movie documentary Himself
A Room Nearby 2003 TV Special documentary short Himself (voice)
Charlie: The Life and Art of Charles Chaplin 2003 Documentary Himself – Director
AFI’s 100 Years… 100 Heroes & Villains 2003 TV Special documentary Himself
A Decade Under the Influence 2003 Documentary Himself
The Making of ‘Amadeus’ 2002 Video documentary Himself – Director
Hollywood Rocks the Movies: The 1970s 2002 TV Movie documentary Himself (uncredited)
Behind the Music 2001 TV Series documentary Himself
In the Shadow of Hollywood 2000 Documentary Himself
The Beatles Revolution 2000 TV Movie documentary Himself
Milos Forman: Kino ist Wahrheit 2000 TV Short Himself
Man on the Moon: Behind the Moonlight 2000 Video documentary short Himself
The 57th Annual Golden Globe Awards 2000 TV Special Himself – Audience Member
V centru filmu – v teple domova 1998 TV Movie documentary Himself
Eigentlich ist nichts geschehen – Der Film des Prager Frühlings 1998 TV Movie documentary Himself
Biography 1998 TV Series documentary Himself
The South Bank Show 1998 TV Series documentary Himself
Cold War 1998 TV Mini-Series documentary Himself
The Directors 1997 TV Series documentary Himself
Completely Cuckoo 1997 Video documentary Himself
Paskvil 1997 TV Series Himself
Who Is Henry Jaglom? 1997 Documentary Himself
Cannes… les 400 coups 1997 TV Movie documentary Himself
The 69th Annual Academy Awards 1997 TV Special Himself – Nominee: Best Director
Omnibus 1997 TV Series documentary Himself
Mundo VIP 1997 TV Series Himself
The 54th Annual Golden Globe Awards 1997 TV Special Himself
Drawn from Memory 1995 TV Movie Himself (voice)
L’envers du décor: Portrait de Pierre Guffroy 1992 Documentary Himself
Why Havel? 1991 Documentary Narrator (voice)
The Republic Pictures Story 1991 TV Movie documentary Himself
The Kodak Century Presentes a Salute to Milos Forman 1990 TV Movie Himself – Honoree
American Tribute to Vaclav Havel and a Celebration of Democracy in Czechoslovakia 1990 TV Movie Himself
La nuit des Césars 1988 TV Series documentary Himself – Le président des Césars
Late Night with David Letterman 1985-1986 TV Series Himself
The Statue of Liberty 1985 Documentary Himself
The 57th Annual Academy Awards 1985 TV Special documentary Himself – Winner: Best Director
Cinema 3 1985 TV Series Himself
The 42nd Annual Golden Globe Awards 1985 TV Special Himself – Winner: Best Director
Milos Forman – Das Kuckucksei 1985 TV Movie documentary Himself
Before the Nickelodeon: The Cinema of Edwin S. Porter 1982 Documentary Reader – The Biddle Brothers (voice)
Chytilova Versus Forman 1982 Documentary Himself
James Cagney: That Yankee Doodle Dandy 1981 TV Movie documentary Himself
Stars en Campagne 1980 TV Movie documentary Himself
Bitte umblättern 1979 TV Series documentary Himself
Les rendez-vous du dimanche 1976-1979 TV Series Himself
TVTV Looks at the Academy Awards 1976 TV Special documentary Himself
The 48th Annual Academy Awards 1976 TV Special Himself – Winner: Best Director
Apropos Film 1976 TV Series documentary Himself
The David Frost Show 1971 TV Series Himself
Ein Anlaß zum Sprechen – FAMU Prag 1966 Documentary Himself
Hinter der Leinwand 1966 TV Series documentary Himself
Red Roofs Documentary filming Himself
Shapes of Rhythm: The Music of Galt MacDermot Documentary post-production Himself – Interviewee: Director
To Make a Comedy Is No Fun : Jirí Menzel 2016 Documentary Himself
Un jour, une histoire 2014 TV Series documentary Himself
Milos Forman, un outsider 2012 Documentary Himself
To byl nás hit 2011 TV Series Himself
Carrière, 250 metros 2011 Documentary Himself
Bohdalka je nase! 2011 TV Movie documentary Himself
Il était une fois… 2011 TV Series documentary Himself
My Father George Voskovec 2011 Documentary Himself
Hollywood’s Best Film Directors 2010 TV Series Himself – Interviewee / Film Director

Archive Footage

Title Year Status Character
Larry Flynt: The Right to Be Left Alone 2007 Documentary Himself
San Sebastián 2005: Crónica de Carlos Boyero 2005 TV Movie Himself
Cinema mil 2005 TV Series Himself
Épreuves d’artistes 2004 TV Movie documentary Himself
Bigbít 1998 TV Series documentary Himself

Won Awards

Year Award Ceremony Nomination Movie
2013 Lifetime Achievement Award Directors Guild of America, USA Motion Picture
2010 A Tribute to… Award Zurich Film Festival
2009 Lifetime Achievement Award Reykjavik International Film Festival
2006 Akira Kurosawa Award Tokyo International Film Festival
2004 Lifetime Achievement Award Film by the Sea International Film Festival
2004 Billy Wilder Award National Board of Review, USA
2004 Film Society Award for Lifetime Achievement in Directing San Francisco International Film Festival
2000 Silver Berlin Bear Berlin International Film Festival Best Director Man on the Moon (1999)
2000 CineMerit Award Munich Film Festival
2000 Director’s Achievement Award Palm Springs International Film Festival
1998 Artistic Achievement Award Czech Lions
1997 Golden Globe Golden Globes, USA Best Director – Motion Picture The People vs. Larry Flynt (1996)
1997 Golden Berlin Bear Berlin International Film Festival The People vs. Larry Flynt (1996)
1997 Outstanding European Achievement in World Cinema European Film Awards The People vs. Larry Flynt (1996)
1997 Special Prize for Outstanding Contribution to World Cinema Karlovy Vary International Film Festival
1996 Freedom of Expression Award National Board of Review, USA The People vs. Larry Flynt (1996)
1986 Guild Film Award – Gold Guild of German Art House Cinemas Foreign Film (Ausländischer Film) Amadeus (1984)
1986 Kinema Junpo Award Kinema Junpo Awards Best Foreign Language Film Amadeus (1984)
1985 Oscar Academy Awards, USA Best Director Amadeus (1984)
1985 Golden Globe Golden Globes, USA Best Director – Motion Picture Amadeus (1984)
1985 Amanda Amanda Awards, Norway Best Foreign Feature Film (Årets utenlandske spillefilm) Amadeus (1984)
1985 César César Awards, France Best Foreign Film (Meilleur film étranger) Amadeus (1984)
1985 David David di Donatello Awards Best Foreign Film (Miglior Film Straniero) Amadeus (1984)
1985 David David di Donatello Awards Best Foreign Director (Migliore Regista Straniero) Amadeus (1984)
1985 DGA Award Directors Guild of America, USA Outstanding Directorial Achievement in Motion Pictures Amadeus (1984)
1985 Silver Ribbon Italian National Syndicate of Film Journalists Best Foreign Director (Regista del Miglior Film Straniero) Amadeus (1984)
1985 Joseph Plateau Award Joseph Plateau Awards Best Director Amadeus (1984)
1985 Jussi Jussi Awards Best Foreign Filmmaker Amadeus (1984)
1985 Robert Robert Festival Best Foreign Film (Årets udenlandske spillefilm) Amadeus (1984)
1984 LAFCA Award Los Angeles Film Critics Association Awards Best Director Amadeus (1984)
1979 David David di Donatello Awards Best Foreign Director (Migliore Regista Straniero) Hair (1979)
1977 BAFTA Film Award BAFTA Awards Best Direction One Flew Over the Cuckoo’s Nest (1975)
1977 Readers’ Choice Award Kinema Junpo Awards Best Foreign Language Film Director One Flew Over the Cuckoo’s Nest (1975)
1976 Oscar Academy Awards, USA Best Director One Flew Over the Cuckoo’s Nest (1975)
1976 Golden Globe Golden Globes, USA Best Director – Motion Picture One Flew Over the Cuckoo’s Nest (1975)
1976 Bodil Bodil Awards Best Non-European Film (Bedste ikke-europæiske film) One Flew Over the Cuckoo’s Nest (1975)
1976 David David di Donatello Awards Best Foreign Director (Migliore Regista Straniero) One Flew Over the Cuckoo’s Nest (1975)
1976 DGA Award Directors Guild of America, USA Outstanding Directorial Achievement in Motion Pictures One Flew Over the Cuckoo’s Nest (1975)
1976 Silver Ribbon Italian National Syndicate of Film Journalists Best Foreign Director (Regista del Miglior Film Straniero) One Flew Over the Cuckoo’s Nest (1975)
1976 KCFCC Award Kansas City Film Critics Circle Awards Best Director One Flew Over the Cuckoo’s Nest (1975)
1972 Bodil Bodil Awards Best Non-European Film (Bedste ikke-europæiske film) Taking Off (1971)
1971 Grand Prize of the Jury Cannes Film Festival Taking Off (1971)
1967 Bodil Bodil Awards Best European Film (Bedste europæiske film) Lásky jedné plavovlásky (1965)
1967 Jussi Jussi Awards Best Foreign Director Cerný Petr (1964)
1964 Golden Sail Locarno International Film Festival Feature Film Cerný Petr (1964)

Nominated Awards

Year Award Ceremony Nomination Movie
2003 DVD Premiere Award DVD Exclusive Awards Best Audio Commentary, Library Release Amadeus (1984)
2001 Czech Lion Czech Lions Best Foreign Language Film (Nejlepsí zahranicní film) Man on the Moon (1999)
2000 Golden Berlin Bear Berlin International Film Festival Man on the Moon (1999)
1998 Czech Lion Czech Lions Best Foreign Language Film (Nejlepsí zahranicní film) The People vs. Larry Flynt (1996)
1997 Oscar Academy Awards, USA Best Director The People vs. Larry Flynt (1996)
1997 CFCA Award Chicago Film Critics Association Awards Best Director The People vs. Larry Flynt (1996)
1997 OFTA Film Award Online Film & Television Association Best Director The People vs. Larry Flynt (1996)
1996 ACCA Awards Circuit Community Awards Best Director The People vs. Larry Flynt (1996)
1996 ACCA Awards Circuit Community Awards Best Original Screenplay The People vs. Larry Flynt (1996)
1996 Honorable Mentions (The Next Ten Best Picture Contenders) Awards Circuit Community Awards Honorable Mentions The People vs. Larry Flynt (1996)
1990 César César Awards, France Best Director (Meilleur réalisateur) Valmont (1989)
1986 BAFTA Film Award BAFTA Awards Best Film Amadeus (1984)
1982 Golden Globe Golden Globes, USA Best Director – Motion Picture Ragtime (1981)
1980 César César Awards, France Best Foreign Film (Meilleur film étranger) Hair (1979)
1977 César César Awards, France Best Foreign Film (Meilleur film étranger) One Flew Over the Cuckoo’s Nest (1975)
1975 Gold Hugo Chicago International Film Festival Best Feature One Flew Over the Cuckoo’s Nest (1975)
1972 BAFTA Film Award BAFTA Awards Best Direction Taking Off (1971)
1972 BAFTA Film Award BAFTA Awards Best Screenplay Taking Off (1971)
1972 WGA Award (Screen) Writers Guild of America, USA Best Comedy Written Directly for the Screen Taking Off (1971)
1971 Palme d’Or Cannes Film Festival Taking Off (1971)
1967 Silver Ribbon Italian National Syndicate of Film Journalists Best Foreign Director (Regista del Miglior Film Straniero) Lásky jedné plavovlásky (1965)
1965 Golden Lion Venice Film Festival Lásky jedné plavovlásky (1965)

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$20 million 1932 1932-2-18 Actor Amadeus (1984) Aquarius Čáslav Czechoslovakia [now Czech Republic] Director February 18 Jan Tomáš Forman Man on the Moon (1999) Miloš Forman Net Worth One Flew Over the Cuckoo’s Nest (1975) The People vs. Larry Flynt (1996) Writer

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