Formally trained as a painter at Temple University's Tyler School of Art, Richard Sylbert gave up his dreams of becoming a great artist to become instead one of the best American art directors, in the same league as his mentor, the legendary William Cameron Menzies. The Brooklyn native began during TV's 'Golden Age', painting scenery at NBC, and did his first significant feature work for Elia Kazan on films such as "Baby Doll" (1956), "A Face in the Crowd" (1957) and "Splendor in the Grass" (1961). By the time he worked with Sidney Lumet on "The Fugitive Kind" (1960), he was borrowing from music and moving beyond character-based design, using patterns and repetition to tie his films together. Sylbert had met John Frankenheimer when both were working in TV, and the director hired him to design the masterful cold war thriller, "The Manchurian Candidate" (1962). His ingenious decision to move the set as the camera turned produced the brilliant 360-degree pan of the memorable brainwash scene, and its 1988 re-release demonstrated how well the picture as a whole had withstood the test of time.