He was Oscar-nominated for Dodsworth (1936), Wuthering Heights (1939), The Letter (1940), The Little Foxes (1941), The Heiress (1949), Detective Story (1952), Roman Holiday (1953), Friendly Persuasion (1956), and The Collector (1965).

Film historian Ian Freer calls Wyler a "bona fide perfectionist", whose penchant for retakes and an attempt to hone every last nuance "became the stuff of legend.

"[2]: 57  His ability to direct a string of classic literary adaptations into huge box-office and critical successes made him one of "Hollywood's most bankable moviemakers" from the 1930s to the 1960s.

[6]: 37 [7] His mother, Melanie (née Auerbach;[3] died February 13, 1955, Los Angeles, aged 77), was German-born, and a cousin of Carl Laemmle, founder of Universal Pictures.

After realizing that Willy was not interested in the haberdashery business, his mother, Melanie, contacted her distant cousin, Carl Laemmle, who owned Universal Studios, about opportunities for him.

Their enjoyment of the first class trip was short-lived, however, as they found they had to repay the cost of the passage out of their $25 weekly income as messengers to Universal Pictures.

[6]: 37 Around 1923, Wyler arrived in Los Angeles and began work on the Universal Studios lot in the swing gang, cleaning the stages and moving the sets.

In the early 1930s Wyler directed a wide variety of films at Universal, ranging from high-profile dramas such as The Storm with Bebe Daniels, A House Divided with Walter Huston, and Counsellor at Law with John Barrymore, to comedies like Her First Mate with Zasu Pitts and The Good Fairy with Margaret Sullavan.

After leaving Universal he began a long collaboration with Samuel Goldwyn for whom he directed such classics as Dodsworth (1936) where he earned his first nomination for the Academy Award for Best Director.

This story of three American servicemen struggling to adjust to civilian life after fighting in World War 2 hit a chord with postwar audiences.

Memorable examples of deep focus here include the complex scene in which the three men wind up at the same bar, unable to stay at home, and, in its powerful closing shot, a crowded family wedding disperses, leaving only two young lovers staring at one another across the expanse of an empty living room, as stunned in place, seemingly, as the camera.

She invited him to see her performance in The Doctor's Dilemma, and Olivier asked him to direct him in his planned film, Henry V. But Wyler said he was "not a Shakespearian" and turned down the offer.

[20][21] If any film actor is having trouble with his career, can't master the medium and, anyway, wonders whether it's worth it, let him pray to meet a man like William Wyler.

"[24]: xiii  When America entered World War II in 1941, Wyler, Huston, Anatole Litvak and Frank Capra, by then all directors, enlisted at the same time.

He was a wonderful companion....He was equally capable of playing Beethoven on his violin, speeding around town on his motorcycle, or schussing down steep virgin snow trails.

[26]In 1941, Wyler directed Mrs. Miniver, based on the 1940 novel; it was the story of a middle-class English family adjusting to the war in Europe and the bombing blitz in London.

Pidgeon originally had doubts about taking on the role, until fellow actor Paul Lukas told him, "You will find working with Wyler to be the most delightful experience you ever had, and that's the way it turned out."

Pidgeon recalled: "One thing that would have been a terrific regret in my life is if I had succeeded in getting out of doing Mrs. Miniver"[29]: 335  He received his first Oscar nomination for his role, while his co-star, Greer Garson, won her first and only Academy Award for her performance.

It was thought that by seeing the suffering of British citizens depicted in fiction story, Americans might be made more willing to aid Britain during their war effort.

[27][30] The film succeeded in its propagandistic aims, eliciting sympathy for the British people by showing Britain during its darkest days of the war.

"[29]: 228 U.S. ambassador to the United Kingdom Joseph Kennedy told the studios to stop making pro-British and anti-German films, because he believed that British defeat was imminent.

You repeatedly amaze me with the demonstrations of your talent and I ask you to believe that it is with genuine pleasure that I salute this latest and greatest example of your work.

The Voice of America radio network broadcast the minister's speech from the film, magazines reprinted it, and it was copied onto leaflets and dropped over German-occupied countries.

"[34] Bosley Crowther wrote in his New York Times review that Mrs. Miniver was the finest film yet made about the war, "and a most exalting tribute to the British.

Carrie received two Academy Award nominations: Costume Design (Edith Head), and Best Art Direction (Hal Pereira, Roland Anderson, Emile Kuri).

Critic Pauline Kael praised Wyler's achievement: I admire the artist who can make something good for the art house audience; but I also applaud the commercial heroism of a director who can steer a huge production and keep his sanity and perspective and decent human feelings beautifully intact.

In 1968, he directed Barbra Streisand in her debut film, Funny Girl, costarring Omar Sharif, which became a huge financial success.

[20]: 385  It was nominated for eight Academy Awards, and like Audrey Hepburn in her first starring role, Streisand won as Best Actress, becoming the thirteenth actor to win an Oscar under his direction.

Wyler's three Best Picture-winning films each featured a Best Actress or Actor Oscar winner – Greer Garson in Mrs Miniver, Fredric March in The Best Years of Our Lives, and Charlton Heston in Ben-Hur.

Other popular Wyler films include: The Westerner (1940) with Gary Cooper, The Letter (1940) again with Davis, Detective Story (1951) with Kirk Douglas, Friendly Persuasion (1956) with Cooper and Dorothy McGuire, The Big Country (1958) with Gregory Peck and Heston, The Children's Hour (1961) with Hepburn, Shirley MacLaine and James Garner, and How to Steal a Million (1966) with Hepburn and Peter O'Toole.