Films
His success in radio led to an invitation from Universal-International Pictures to write screenplays. His first screen credit was for Redball Express in 1952. Much of Hayes's career was spent writing screenplays for glossy, big-budget melodramas like Torch Song with Joan Crawford, BUtterfield 8 with Elizabeth Taylor, The Carpetbaggers with Carroll Baker, and Where Love Has Gone with Susan Hayward and Bette Davis. His adaptation of Grace Metalious's steamy bestseller, Peyton Place, earned him an Academy Award nomination.
Hayes collaborated with director Alfred Hitchcock on four films: Rear Window (for which he won an Edgar Award and an Oscar nomination), To Catch a Thief, The Trouble with Harry and The Man Who Knew Too Much. Their first collaboration, Rear Window, is considered by many critics to be one of Hitchcock's best and most thrilling pictures. The Man Who Knew Too Much, a remake of Hitchcock's 1934 film of the same name, became one of the most financially successful films of its year of release.
After several years of retirement, Hayes resurfaced to co-write director Charles Haid's family adventure drama Iron Will, starring Kevin Spacey, in 1994. He taught film writing at Dartmouth College until he retired in 2000.
In 2001, Hayes's collaboration with Alfred Hitchcock was the subject of the book Writing with Hitchcock by Steven DeRosa, which gave a full account of Hayes's four film collaboration with the director. In 2004, Hayes was the recipient of the Writers Guild of America's highest honor, the Screen Laurel Award. Hayes died of natural causes on November 19, 2008, in Hanover, New Hampshire. A movie based upon Writing with Hitchcock is currently in development and a new edition was published in 2011 containing additional material.
Read more about this topic: John Michael Hayes
Famous quotes containing the word films:
“If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There’s nothing behind it.”
—Andy Warhol (c. 1928–1987)
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)
“Right now I think censorship is necessary; the things they’re doing and saying in films right now just shouldn’t be allowed. There’s no dignity anymore and I think that’s very important.”
—Mae West (1892–1980)