Daniel Haller

Daniel Haller

Born: September 14, 1926
in Glendale, California, USA
From Wikipedia, the free encyclopedia

Daniel Haller (born September 14, 1926 in Glendale, California) is an American film and television director, production designer, and art director. Haller studied at the renowned Chouinard Art Institute in Los Angeles.

In 1953, Haller started as an art director in television, then quickly graduated to low budget feature films. Among many other credits, Haller designed the deceptively opulent sets for nearly all of Roger Corman's critically acclaimed Edgar Allan Poe film series, including House of Usher (1960) and The Pit and the Pendulum (1961).

Haller directed his first film, Die, Monster, Die!, in 1965 for American International Pictures. Based on H. P. Lovecraft's short story The Colour Out of Space, it was very similar in plot and atmosphere to Corman's Poe films. After directing two motorcycle pictures (The Devil's Angels (1967) and The Wild Racers (1968)), Haller filmed another Lovecraft adaptation, The Dunwich Horror (1970).

From 1972, all of Haller's subsequent work has been in television, including directing episodes of Night Gallery, Battlestar Galactica and Buck Rogers in the 25th Century. Today he lives with his family in a horse ranch in the San Fernando Valley.

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Movies for Daniel Haller...

Boris Karloff:  The Rest of the Story
Title: Boris Karloff: The Rest of the Story
Character: Self - Interviewee
Released: October 18, 2022
Type: Movie
Boris Karloff: The Rest of the Story takes a deeper look at the life and career of Boris Karloff, from 1931 to 1969, exploring films such as The Ghoul, The Walking Dead (1936), Charlie Chan at the Opera (1936), the Mr Wong series, The Climax (1944), Lured (1947), The Strange Door (1951), Grip of the Strangler and Corridors of Blood(1958), The Comedy of Terrors (1963), The Curse of the Crimson Altar (1968), the Mexican quartet, some of his major TV appearances (The Girl From U.N.C.L.E., Wild Wild West, I-Spy) as well as taking a deep look at his often ignored Broadway career in the 1940s and 50's. There is also much time devoted to Karloff's more personal side and his relationship with his daughter, Sara.