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Robert Clatworthy | Art Director, Production Designer

Known for

Anthony Perkins, John Gavin, Janet Leigh, and Heather Dawn May in Psycho (1960)

  • Art Director
  • 1960

Katharine Hepburn, Spencer Tracy, Sidney Poitier, and Katharine Houghton in Guess Who's Coming to Dinner (1967)

  • Production Designer
  • 1967

Charlton Heston, Orson Welles, and Janet Leigh in Touch of Evil (1958)

  • Art Director
  • 1958

Ship of Fools (1965)

  • Production Designer
  • 1965

Art Director


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  • 78


  • Car Wash (1976)

    • 1976
  • The Family Kovack (1974)

    • 1974
  • Walt Disney in Disneyland (1954)

    • 1963–1974
  • The Whiz Kid and the Mystery at Riverton (1974)

    • 1974
  • The Failing of Raymond (1971)

    • 1971
  • Doris Day, Rock Hudson, and Tony Randall in Send Me No Flowers (1964)

    • 1964
  • Marlon Brando, David Niven, and Shirley Jones in Bedtime Story (1964)

    • 1964
  • Hayley Mills and Peter Brown in Summer Magic (1963)

    • 1963
  • Tony Curtis, Suzanne Pleshette, and Claire Wilcox in 40 Pounds of Trouble (1962)

    • 1962
  • Doris Day and Cary Grant in Romance à la carte (1962)

    • 1962
  • Doris Day, Rock Hudson, Edie Adams, Jack Kruschen, Jack Oakie, and Tony Randall in Een pyjama voor Twee (1961)

    • 1961
  • Hayley Mills in Een fijn stel dochters (1961)

    • 1961
  • Hot Off the Wire (1960)

    • 1960
  • Doris Day, John Gavin, and Rex Harrison in Een stem in de mist (1960)

    • 1960
  • Anthony Perkins, John Gavin, Janet Leigh, and Heather Dawn May in Psycho (1960)

    • 1960

Production Designer


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  • 17


  • Trivia

    Art director, who worked on B-movies at Paramount (1938 and 1947-48) and Universal (1941-46, 1949-64). From 1960, involved with more ambitious assignments for directors like Alfred Hitchcock and Stanley Kramer. Intermittently with the Disney Organisation in the 60's and 70's.

  • Quotes

    [on "Psycho" (1960)]: Hitchcock had decided to do a picture that would cost less than a million - it came in at $830,000, I think - so it had to be shot in black-and-white. Certainly, it worked better in black-and-white; so did "Touch Of Evil". Color tends to brighten things up too much; I always try to take the color out.

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