Byron Haskin studied at the University of California-Berkeley before signing up with the navy as an aviation cadet. After wartime service, Haskin worked as a cartoonist and ad man, then entered the film industry as a newsreel cameraman. By 1922, he was a director of photography at Warner Bros., and within five years graduated to director of such diverse Warner programmers as Irish Hearts and Ginsburg the Great. With the coming of talkies, he returned to cinematography, spending his spare time developing more efficient means of adapting to the new technical challenges of sound. From 1929 to 1932, Haskin served as a production executive and technical advisor for the British movie industry. Upon his return to Hollywood, Haskin was signed by Warner Bros.' special effects department, which he headed from 1937 to 1945. During this phase of his career, Haskin and his staff earned several Oscar nominations for their technological advancements. When Warners executive producer Hal Wallis moved to Paramount in 1945, he took Haskin along. Here, Haskin resumed his directorial career with the Burt Lancaster-Kirk Douglas film noir I Walk Alone (1947). He made a second trip to England in 1949, where he helmed Disney's live-action adaptation of Treasure Island, starring Robert Newton (later in the 1950s, he directed Newton in the follow-up film Long John Silver, and also worked on the spin-off TV series of the same name). With his direction of 1953's The War of the Worlds, Haskin began a long and rewarding association with fantasy-film producer--and fellow special-effects specialist--George Pal. The director's subsequent science-fiction efforts (not all of them produced by Pal) included Conquest of Space (1955), From the Earth to the Moon (1958), Robinson Crusoe on Mars (1964) and The Power (1968). He also directed episodes of such memorable TV weeklies as "The Outer Limits." It might be true that, in the words of film historian Bill Warren, Byron Haskin was never really "a director of actors," but his handling of robots, extraterrestrials and mutated insects was second to none.
| Title | Year | Editors' Rating | User Rating | |
|---|---|---|---|---|
|
The Power
Director |
1968 | |||
|
Star Trek: The Menagerie, Part 1
Associate Producer |
1966 | |||
|
Star Trek: The Menagerie, Part 2
Associate Producer |
1966 | |||
|
Robinson Crusoe on Mars
Director |
1964 | |||
| 1964 | ||||
|
The Outer Limits: Behold, Eck!
Director |
1964 | |||
| 1964 | ||||
|
The Outer Limits: Specimen: Unknown
Director |
1964 | |||
| 1964 | ||||
|
Captain Sindbad
Director |
1963 | |||
| 1963 | ||||
| 1963 | ||||
|
The Outer Limits: The Galaxy Being
Director |
1963 | |||
|
The Outer Limits: Zanti Misfits
Director |
1963 | |||
|
Armored Command
Director |
1961 | |||
|
September Storm
Director |
1960 | |||
|
Jet over the Atlantic
Director |
1959 | |||
|
The Little Savage
Director |
1959 | |||
|
From the Earth to the Moon
Director |
1958 | |||
|
The Boss
Director |
1956 | |||
|
The First Texan
Director |
1956 | |||
|
Conquest of Space
Director |
1955 | |||
|
The Naked Jungle
Director |
1954 | |||
|
His Majesty O'Keefe
Director |
1953 | |||
|
Long John Silver
Director |
1953 | |||
|
The War of the Worlds
Director |
1953 | |||
|
Silver City
Director |
1951 | |||
|
Tarzan's Peril
Director |
1951 | |||
|
The Denver and Rio Grande
Director |
1951 | |||
|
Warpath
Director |
1951 | |||
|
Treasure Island
Director |
1950 | |||
|
Too Late for Tears
Director |
1949 | |||
|
I Walk Alone
Director |
1948 | |||
|
Man-Eater of Kumaon
Director |
1948 | |||
|
Arsenic and Old Lace
Special Effects |
1944 | |||
|
Passage to Marseille
Special Effects |
1944 | |||
|
Truck Busters
Special Effects |
1943 | |||
|
Across the Pacific
Special Effects |
1942 | |||
|
Always in My Heart
Special Effects |
1942 | |||
|
Bullet Scars
Special Effects |
1942 | |||
|
Captains of the Clouds
Special Effects |
1942 | |||
|
In This Our Life
Special Effects |
1942 | |||
|
Wings for the Eagle
Special Effects |
1942 | |||
|
Dive Bomber
Special Effects |
1941 | |||
|
High Sierra
Special Effects |
1941 | |||
|
Manpower
Special Effects |
1941 | |||
|
The Bride Came C.O.D.
Special Effects |
1941 | |||
|
The Great Lie
Special Effects |
1941 | |||
|
The Sea Wolf
Special Effects |
1941 | |||
|
The Wagons Roll at Night
Special Effects |
1941 | |||
|
Wild Bill Hickok Rides
Special Effects |
1941 | |||
|
'Til We Meet Again
Special Effects |
1940 | |||
|
A Dispatch from Reuters
Special Effects |
1940 | |||
|
Brother Orchid
Special Effects |
1940 | |||
|
Castle on the Hudson
Special Effects |
1940 | |||
|
City for Conquest
Special Effects |
1940 | |||
|
Flowing Gold
Special Effects |
1940 | |||
|
Invisible Stripes
Special Effects |
1940 | |||
|
It All Came True
Special Effects |
1940 | |||
|
Knute Rockne, All American
Special Effects |
1940 | |||
|
Santa Fe Trail
Special Effects |
1940 | |||
|
South of Suez
Special Effects |
1940 | |||
|
The Fighting 69th
Special Effects |
1940 | |||
|
The Sea Hawk
Special Effects |
1940 | |||
|
They Drive by Night
Special Effects |
1940 | |||
|
Torrid Zone
Special Effects |
1940 | |||
|
Virginia City
Special Effects |
1940 | |||
|
Dodge City
Special Effects |
1939 | |||
|
Dust Be My Destiny
Special Effects |
1939 | |||
|
On Your Toes
Special Effects |
1939 | |||
|
The Private Lives of Elizabeth and Essex
Special Effects |
1939 | |||
|
The Roaring Twenties
Special Effects |
1939 | |||
|
We Are Not Alone
Special Effects |
1939 | |||
|
Gold Is Where You Find It
Special Effects |
1938 | |||
|
Green Light
Cinematographer |
1937 | |||
|
Slim
Special Effects |
1937 | |||
|
Submarine D-1
Special Effects |
1937 | |||
|
The Perfect Specimen
Special Effects |
1937 | |||
|
Colleen
Cinematographer, Editor |
1936 | |||
|
I Married a Doctor
Cinematographer |
1936 | |||
|
Stage Struck
Cinematographer |
1936 | |||
|
A Midsummer Night's Dream
Special Effects |
1935 | |||
|
Black Fury
Cinematographer |
1935 | |||
|
Personal Maid's Secret
Cinematographer |
1935 | |||
|
As the Earth Turns
Cinematographer |
1934 | |||
|
Side Streets
Cinematographer |
1934 | |||
|
It's Tough to Be Famous
Cinematographer |
1932 | |||
|
The Deadline
Cinematographer |
1932 | |||
|
The Guilty Generation
Cinematographer |
1931 | |||
|
One Embarrassing Night
Director |
1930 | |||
|
The Glad Rag Doll
Cinematographer |
1929 | |||
|
The Madonna of Avenue A
Cinematographer |
1929 | |||
|
The Redeeming Sin
Cinematographer |
1929 | |||
|
Caught in the Fog
Cinematographer |
1928 | |||
|
On Trial
Cinematographer |
1928 | |||
|
The Singing Fool
Cinematographer |
1928 | |||
|
Ginsberg the Great
Director |
1927 | |||
|
Irish Hearts
Director |
1927 | |||
|
Matinee Ladies
Director |
1927 | |||
|
Siren
Director |
1927 | |||
|
Wolf's Clothing
Cinematographer |
1927 | |||
|
Across the Pacific
Cinematographer |
1926 | |||
|
Don Juan
Cinematographer |
1926 | |||
|
The Sea Beast
Cinematographer |
1926 | |||
|
On Thin Ice
Cinematographer |
1925 | |||
|
Slander the Woman
Cinematographer |
1923 |













