The extraordinarily prolific and eclectic art director Hans Dreier studied at Munich University where he majored in...
Hans Dreier is a member of Art Director

Does Hans Dreier Dead or Alive?

As per our current Database, Hans Dreier has been died on 24 October, 1966 at Bernardsville, New Jersey, USA.

🎂 Hans Dreier - Age, Bio, Faces and Birthday

When Hans Dreier die, Hans Dreier was 81 years old.

Popular As	Hans Dreier
Occupation	Art Director
Age	81 years old
Zodiac Sign	Leo
Born	August 21, 1885 (Bremen, Germany)
Birthday	August 21
Town/City	Bremen, Germany
Nationality	Germany

🌙 Zodiac

Hans Dreier’s zodiac sign is Leo. According to astrologers, people born under the sign of Leo are natural born leaders. They are dramatic, creative, self-confident, dominant and extremely difficult to resist, able to achieve anything they want to in any area of life they commit to. There is a specific strength to a Leo and their "king of the jungle" status. Leo often has many friends for they are generous and loyal. Self-confident and attractive, this is a Sun sign capable of uniting different groups of people and leading them as one towards a shared cause, and their healthy sense of humor makes collaboration with other people even easier.

🌙 Chinese Zodiac Signs

Hans Dreier was born in the Year of the Rooster. Those born under the Chinese Zodiac sign of the Rooster are practical, resourceful, observant, analytical, straightforward, trusting, honest, perfectionists, neat and conservative. Compatible with Ox or Snake.

The extraordinarily prolific and eclectic art director Hans Dreier studied at Munich University where he majored in engineering and architecture. Following military service during the First World War, he spent time working as a supervising architect in the Cameroons and South Africa.

Between 1919 and 1923, he was employed by Germany's pre-eminent film company Ufa as an assistant designer. Along with Ernst Lubitsch and other talented compatriots seeking more lucrative opportunities within the emerging film industry, Dreier left Europe in the early 1920s and was recruited by Hollywood.

Most of his lengthy tenure at Paramount (1923-50) was spent as supervising art director. In that capacity, he became as influential at determining the overall style of the studio's output as his counterpart Cedric Gibbons at MGM.

The Paramount 'look' during the 20's and early 30's epitomised continental elegance and sophistication. Unlike Gibbons, Dreier was far less autocratic and gave the production designers he recruited (among them Albert S.

D'Agostino and Roland Anderson) carte blanche to stamp their own distinctive authority on their work. In turn, this laissez-faire approach attracted more and more talented designers to Paramount.Dreier himself took personal charge of all films made by Lubitsch and Josef von Sternberg between 1927 and 1932.

His innate perception of space, combined with his expressionist leanings, proved eminently well-suited to the sombre, moody and heavily stylised films of von Sternberg. The Docks of New York (1928), Shanghai Express (1932) and The Scarlet Empress (1934) are among the most visually evocative examples of Dreier's use of light and dark effects, of chiaroscuro and fog.

In later years, his most rewarding collaborations were with Billy Wilder and Preston Sturges. Among Dreier's impressive list of credits -- either working on his own or in collaboration -- are many of Paramount's most enduring films, encompassing nearly every genre: from horror to romance, from epic spectacle to period drama, from musical to films noir: Dr.

Jekyll and Mr. Hyde (1931), Island of Lost Souls (1932), Trouble in Paradise (1932), Duck Soup (1933), Cleopatra (1934), The Lives of a Bengal Lancer (1935),The Buccaneer (1938), Sullivan's Travels (1941), Reap the Wild Wind (1942), The Fleet's In (1942), This Gun for Hire (1942) and Double Indemnity (1944).

Dreier retired in 1950 and was replaced as supervising art director by Hal Pereira. During his career he was nominated for twenty Academy Awards for Best Art Direction, winning on three occasions. He received his first Oscar for the costume drama Frenchman's Creek (1944).

In 1950 he scored a double: one for the biblical technicolor epic Samson and Delilah (1949) and a second for his work on Billy Wilder's black & white masterpiece Sunset Blvd. (1950). He was inducted into the Art Director's Hall of Fame in 2005.